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 Acting Crazy: A training program that strengthens
empathic listening, self-awareness, and creativity for
psychology students

Abigail A. Bradecich

A Dissertation Submitted to the Faculty of

The Chicago School of Professional Psychology
In Partial Fulfillment of the Requirements
For the Degree of Doctor of Psychology

June 10, 2008

 UMI Number: 3405127

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ii
 Acting Crazy: A Training Program that Strengthens
Empathic Listening, Self-Awareness, and Creativity for
Psychology Students

A Dissertation Submitted to the Faculty of

The Chicago School of Professional Psychology
In Partial Fulfillment of the Requirements
For the Degree of Doctor of Psychology

Abigail A. Bradecich

2008

Approved By:

White, PsyD, Chairperson

Associate Professor, The Chicago School of Professional Psychology

Ted Rubenstein, MFA, RDT, PsyD, Member—

Assistant Professor, The Chicago School of Professional Psychology

iii
 Acknowledgements

I would like to thank my chair, Dr. Grant White, for initially taking me on as a

dissertation student with my ideas of blending acting and psychology. You helped me to

find a focus for this dissertation, and I am truly grateful.

I would also like to thank my reader, Dr. Ted Rubenstein, whose wisdom about

all things acting/improvisation/art, psychology, and the blending of these fields helped

me to structure this dissertation and the training program. Your encouragement and

feedback helped to keep me invested in this project and continually provided direction

moving forward.

I cannot thank Keith Whipple, M.A., enough for leading the pilot course, the

actual research portion, of this dissertation. Thank you for meeting with me to structure

the pilot course as well as to share your knowledge about improvisation, drama therapy,

psychodrama, and teaching. Thank you also to all of the students who participated in the

pilot course. Thanks for taking risks and sharing your experiences.

Diana Castle was the initial inspiration for this dissertation as well as a catalyst

for me to go back to school in the field of mental health. Her acting class, for me, was not

about acting per se, but about truly understanding the human condition and the human

experience, through imagination, empathy, and allowance.

My mother and step-mother were my role models in this process. Both women

modeled going back to graduate school and writing their dissertations while I was

growing up; you are both inspirations. Thank you to my father for always believing in me

iv
and being a supportive presence in my life. And to my sisters and girlfriends, who I love

dearly and feel blessed to have in my life, thank you for checking in on me and

encouraging me throughout this process.

Mike, Sophie, and Sara, nothing I can write here can truly express how much

support and love you have given to me throughout this process. Mike, thank you for

watching the girls weekend after weekend so that I would have time to write, and Sophie,

Sara, and Mike, thank you for taking me away from all of this to focus on what matters

most.

v
 Abstract

Acting Crazy: A Training Program that Strengthens Empathic Listening, Self-Awareness,

and Creativity for Psychology Students

Abigail A. Bradecich

The proposed program aspires to strengthen helping skills for pre-practicum

psychology students in training. Although helping skills training is a common first step in

training programs today, the impact and effectiveness of this training is not fully

understood. Research suggests that novice therapists can learn basic helping skills

relatively quickly (Baker, Daniels, & Greeley, 1990), but also indicates that anxiety can

impact the beginner therapist's self-efficacy which negatively impacts the utilization of

helping skills in counseling related behaviors and clinical situations (Larson & Daniels,

1998; Lent, Hill, & Hoffman, 2003).

Research indicated that role-play and modeling increase a trainee's self-efficacy

compared to a control group without these experiential teaching techniques (Shurts,

Cashwell, Spurgeon, Deggges-White, Barrio, & Kardatzke, 2006). Role-play is a

technique taken from the dramatic tradition. Throughout history, drama has been utilized

in healing, education, and entertainment (Emunah, 1994). Employing drama in the

training of psychologists blends the healing and educational elements in an experiential

training approach. By incorporating action methods such as improvisation and playback

theatre, educators can pass on and construct meaning through multiple intelligences

(Weinstock-Wynters, 1997). Improvisation techniques will be utilized to strengthen

empathic listening, self-awareness, and creativity in the novice psychology student in

vi
attempt to decrease anxiety, increase self-efficacy and, as development continues,

increase here-and-now engagement and active listening skills.

Eight subjects participated in a two-hour pilot class for this program development

dissertation. The pilot course consisted of seven experiential improvisation exercises.

Overall feedback on the pilot program was positive. Written feedback suggested the

following strengths in the course: potential to decrease anxiety in students, potential to

increase self-awareness and self-discovery, and a potential for more student interaction.

All participants responded yes to believing creative arts should be a part of psychology

training.

Participants suggested allowing for more time in working experientially, and

proposed more discussion surrounding the connections between improvisation and

psychology. These suggestions were incorporated in the final creation of this training

program. The proposed program utilizes improvisation and playback theatre in the

training of psychology students. It is hoped that this program will be enacted and

evaluated for further research in this area.

vii
 Table of Contents

Copyright ii

Signature Page iii

Acknowledgements iv

Abstract vi

CHAPTER 1: INTRODUCTION 1

Introduction 1

CHAPTER 2: REVIEW OF THE LITERTURE 6

Overview of Training History 6

Relationship Competency 11

Carl Rogers/Client-Centered Therapy 14

Helping Skills Training/Pre-practicum Training 17

Helping Skills Training and Self-Efficacy 22

Research on Trainees 24

Empathy 25

Listening/Empathic Listening 30

Self-Awareness 31

Creativity 33

Role-Play 36

Drama History and the Evolution of Acting 39

Psychodrama 47
viii
 Drama Therapy 55

Drama in Education 63

Experiential Action Methods of Improvisation and Playback Theatre 64

CHAPTER 3: THEORETICAL FRAMEWORK 74

Theoretical Framework 74

CHAPTER 4: METHODS 76

Goal 76

Obj ectives/Anticipated Outcomes 76

Target Population 77

Identify Stakeholders 78

Content of Program 79

Select Measures 81

Personnel 83

Training Requirements of Personnel 83

Materials, Space, and Time Needed 84

Funding Sources 85

Budget 85

Program Implementation Timeline 85

CHAPTER 5: PILOT PROGRAM 87

The Class 87

The Feedback/Results 94

CHAPTER 6: TRAINING PROGRAM 98

ix
 The Program 98

CHAPTER 7: DISCUSSION 105

Discussion 105

REFERENCES 109

APPENDIX A: INFORMED CONSENT FORM 119

APPENDIX B: PILOT PROGRAM OUTLINE 120

APPENDIX C: PILOT PROGRAM TRANSCRIPTION 124

APPENDIX D: PILOT PROGRAM FEEDBACK FORM 187

APPENDIX E: PILOT PROGRAM FEEDBACK RESPONSES 188

APPENDIX F: PROGRAM SYLLABUS 192

x
 CHAPTER 1: INTRODUCTION

Introduction

Research on the training of basic skills necessary for psychotherapy has declined

dramatically since the late 1960s and early 1970s (Baker, Daniels, & Greeley, 1990;

Carkhuff, 1966; Hill & Lent, 2006; Ivey, Normington, Miller, Morrill, & Haase, 1968).

Basic helping skills training programs were developed at that time to teach distinct

helping skills such as empathy (i.e., reflection of feelings), listening, warmth, open

questions, and interpretations. These skills were typically taught in training programs

prior to individualized supervision or practicum training, thus these skills were also

termed pre-practicum training (Baker et al.; Carkhuff; Hill & Lent; Ivey et al).

Although helping skills training is a common first step in training programs today,

the impact and effectiveness of this training is not fully understood. Research suggests

that novice therapists can learn basic helping skills relatively quickly (Baker et al., 1990),

but also indicates that anxiety can impact the beginner therapist's self-efficacy which

negatively impacts the utilization of helping skills in counseling related behaviors and

clinical situations (Lent, Hill, & Hoffman, 2003). Specific training devoted to these

helping skills would lessen anxiety and strengthen self-efficacy in the novice therapist.

This dissertation will create a training program for novice therapists focusing on

strengthening basic helping skills such as empathic listening, and higher order counseling

skills (Nutt-Williams, Judge, Hill, & Hoffman, 1997), such as self-awareness and

creativity, in order to strengthen the psychology student's confidence and ability in a

1
therapeutic situation. To strengthen helping skills, this program will utilize acting and

improvisation techniques.

How can an acting class lessen anxiety and deepen understanding? A brief look at

drama and acting will elucidate its therapeutic benefits as well as its ability toward skill

training. In ancient Greece, theatre was central to the society. In his work, The Poetics,

Aristotle established rules in theatre and playwriting, and developed the idea of catharsis,

an emotional release on the part of the spectator (Worthen, 1996). Aristotle presented the

role of the theatre as one of healing (Siroka, 1978). In modern theatre, this emotional

release has migrated from within just the audience, to an emotional shift in the actor as

well. Inspired by Stanislavski and his work, many American acting teachers began

training actors in "The Method" or Meisner techniques in the early to mid 1900s

(Worthen). The actors focused on imagining themselves as the character and bringing in

personal memories to authenticate performance (Worthen). This emotional shift allows

the actor, or in the case of this dissertation, the psychology student, to experience being

another person, to identify the parts of herself that resonate with the character, and to

practice "performing" in front of others in the class, thus lessening the anxiety and

deepening understanding.

The healing benefits of theatre and drama have existed throughout history, and

specific approaches have blended drama and therapy, utilizing the benefits of both

modalities. The fields of psychodrama and drama therapy identify the therapeutic

benefits of drama in working with clients. Psychodrama takes the metaphor of theatre to

the personal by acting and reenacting the lives of group members in order to facilitate a
2
catharsis within each client, the idea being that truth is displayed through action and

spontaneity, rather than talk therapy (Blatner, 1999; Moreno, 1946). While psychodrama

was founded by a psychiatrist, Jacob Levy Moreno, drama therapy developed from the

art form of drama and is rooted in various disciplines (Emunah, 1994). One of many

definitions, "Drama therapy is the intentional and systematic use of drama/theatre

processes to achieve psychological growth and change" (Emunah, p. 3).

But how do the benefits of drama impact the psychology student in training?

Through experiential learning of dramatic action, the psychology student will experience

the catharsis experienced in theatre, as well as the psychological growth and change the

client may experience in psychodrama and drama therapy. In learning improvisation and

other techniques, the psychology student in training will be placed in situations which

necessitate active listening and empathy. Self-awareness will be strengthened as the

student explores the role of the character, thereby understanding more about the self.

Further, the student's creativity will increase as a result of strengthening these skills as

well as through the process of learning as an artist.

The benefits described above, particularly related to self awareness, are abilities

usually only obtained via individual therapy. However, individual therapy is not a

mandatory component of doctoral training, and avenues for self-understanding and self-

reflection are missing from the training of doctoral students. An acting training program

focusing on these skills could be another opportunity for the student to gain insight into

the self.

3
 The field of drama therapy clarifies the need to train therapists through the use of

dramatic enactment. Emunah (1989) indicated that the use of drama in training can help

people practice or prepare for real-life situations. She indicated that the world of make-

believe is a safe place in which a therapist in training can deal with anxieties and develop

confidence.

Graduate psychology training already utilizes experiential techniques in its

curriculum. Role-play, a skill used in teaching that is borrowed from the dramatic

tradition, is a method often utilized in the experiential training of psychotherapists. Role-

play has been accepted as a standard component of therapist education programs (Baker

et al. 1990; Shurts, Cashwell, Spurgeon, Degges-White, Barrio, & Kardatzke, 2006).

Research indicates that role-play and modeling increase a trainee's self-efficacy

compared to a control group without these experiential teaching techniques (Shurts et

al). However, other research noted that performance anxiety and the fear of judgment

can negatively impact the benefits of in-class role-plays (Styles, 1999). Further, the

validity, generalizability, and replicability of role-play has been difficult to assess in

research given the nature of social interaction and the complexities of behavior are often

difficult to recreate in a classroom or laboratory setting (Rubenstein, 2006). Although

difficulties assessing the value of role-play remain, the benefits of learning about the self,

others, and various roles outweigh inconclusive or lacking research in this area.

An acting program geared toward psychology students has the potential to lessen

anxiety in future training role-plays, future practicum experiences, and future practice. It

also creates the possibility of increasing the student's confidence and self-efficacy. Long
4
term potentials include increasing here-and-now engagement and active listening skills

as well as deepening the therapist's ability to understand, empathize with, and portray

clients (Emunah, 1989). Most likely, performance anxiety will slowly dissipate in an

improvisation class by allowing students sufficient time to explore and perform.

This training program for graduate students in professional psychology will

strengthen the skills discussed above: empathic listening, self-awareness, and creativity.

The program will take place weekly throughout one semester. Each class will be three

hours long. These sessions will incorporate experiential learning through improvisation

and playback theatre.

Dramatic enactment can change us as people. We are deepened and broadened

by the roles we play. New parts of ourselves become accessible, parts that can be
mobilized in our work as healers... Therapy is not only a science; it is an art.
Perhaps we can best express the art of psychotherapy via an artistic process.
(Emunah, 1989, pp. 35-36)

5
 CHAPTER 2: REVIEW OF THE LITERATURE

Overview of Training History

In 1949, Abraham Luchins noted the increase of clinical psychologists in

therapeutic practice without adequate training in therapy. He offered his observation to

stimulate discussion, as well as encourage change in the curriculum of training for the

clinical psychologist. Today, training for psychologists is valued in psychological

literature; however, research on training effectiveness and evaluation is limited (Hensley,

Smith, & Thompson, 2003; Hill & Kellems, 2002; Roberts, Borden, Christiansen, &

Lopez, 2005). Current research focuses on the training experiences received in

supervision in practicum and internship, rather than on education and curriculum

(Aronson, Akamatsu, & Page, 1982; Hill & Lent, 2006; Norcross & Stevenson, 1984).

The field of psychology was and is still today, fragmented with a separatist nature

(Henriques & Sternberg, 2004). The degrees of doctor of philosophy (PhD) and doctor of

psychology (PsyD) are in constant debate and competition about best practices, or more

specifically, the preferable degree for practicing psychology (Craighead & Craighead,

2006; Maher, 1999; Peterson, Peterson, Abrams, & Strieker, 1997, Norcross & Castle,

2002). The varying ideas about practice, research, education, concepts, orientation, and

terminology promote confusion within the field (Henriques & Sternberg). The

delineations between clinical, counseling, and school psychology are unclear and create

misunderstandings within the field of psychology overall. Theoretical orientations within

the field create additional confusions. Further, the differences between the field of

6
psychology and other helping professions (i.e., psychiatry, clinical social work, or general

counseling) are blurred (Lindskoog, as cited in Henriques & Sternberg). This diversity of

thought and conceptualization within the field of psychology has led to various training

models.

With respect to training, PhD and PsyD training programs are usually divided

between the Boulder Model (also called scientist-practitioner model) and the Vail Model

(or practitioner-scholar model), respectively (Norcross & Castle, 2002). The Boulder

Model was established in 1949, and is linked to the PhD degree (Norcross & Castle). It

focused more on research in psychological education. The Vail Model was established in

1973 and was linked to the PsyD degree (Norcross & Castle). It was born out of the need

for a professional focus in psychology and was equated with professional degrees in the

fields of medicine, dentistry, and law (Norcross & Castle). Norcross and Castle

suggested, "Boulder programs aspire to train producers of research; Vail programs train

consumers of research" (p. 22). Although established as complementary training models,

the different degrees have blurred the distinction between standards for practice and

standards for research (Craighead & Craighead, 2006; Norcross & Castle). Instead,

unhealthy competition, divisiveness, and defensiveness emerged between supporters of

each training model (Craighead & Craighead).

Researchers and practitioners have suggested various methods to solve the

confusion. Henriques and Sternberg (2004) suggested a unified psychological science

incorporating a combined-integrated doctoral training program. Craighead and Craighead

(2006) suggested a distinction between the degrees, the PhD reserved solely for research,
7
the PsyD solely for practice while incorporating research findings. Donald R. Peterson,

"one of the most prominent and vocal leaders in the professional psychology movement"

(Henriques & Sternberg, p. 1056) suggested that "science begins and ends in a body of

systematic knowledge... professional activity begins and ends in the condition of the

client" (Peterson, 2006, p. 52). Further, he stated,

The best thing scientists in psychology can do to improve practice is not to deride
their professional colleagues for going beyond tested knowledge but to extend the
base of disciplined knowledge and improve the procedures that professionals need
to meet the demands of public service. (Peterson, p. 56)

As this dissertation will focus on the training of clinical psychology students in a

PsyD program, the history of training will focus on the creation and continuation of the

National Council of Schools and Programs of Professional Psychology (NCSPP).

Founded in 1976, the NCSPP "has devoted itself to the deliberate, systematic, reflective

examination of standards for the education and training of professional psychologists by

means of a series of annual conferences" (Peterson, Peterson, Abrams, & Strieker, 2006,

p. 17). It is an organization of professional schools and programs with a mission of

"progressive improvement, enhancement, and enrichment of professional psychology

education and training" (Peterson et al., p. 18).

The NCSPP evolved out of the need to prepare psychologists for professional

work and the desire to expand training to professional schools rather than only university

settings (Peterson et al., 1997). Before the establishment of the NCSPP, the Vail

conference of 1973 instituted the intellectual agenda and institutional sanction for

training in professional schools (Peterson et al., 2006). This conference discussed the

8
need for professional schools. The doctor of psychology (PsyD) degree had also attained

credibility around this time which further allowed for the development of the professional

school (Peterson et al., 1997). It initiated the models of training and development for

students in professional psychology and sparked the creation of the NCSPP (Peterson et

al., 1997; Peterson et al., 2006).

Several conferences of the NCSPP focused on training and development of the

professional psychologist. The first major national conference entitled "Quality in

Professional Psychology Training" occurred in 1981 and resulted in the initial NCSPP

volume of standards (Callan, 1986 as cited in Peterson et al., 1997). Initial discussions

about the core curriculum for professional schools transpired (Peterson et al ).

The NCSPP's Mission Bay conference in 1986 was the next significant

conference related to the training of professional psychologists (Bent, 2001; Peterson et

al., 1997). At this conference, six core training competencies were established as follows:

relationship, assessment, intervention, research and evaluation, consultation and

education, and management and supervision (Bent). This conference marked a shift from

the traditional emphasis on gathering knowledge in content areas to identifying

professional competencies as the goal of psychological education (Peterson et al., 2006).

"For those who think in terms of learning theory, the competencies suggest a much

clearer way of thinking about education goals" (Peterson et al., p. 32).

In 1992, and in line with the American Psychological Association's (APA) focus

on evaluation, the NCSPP turned its attention to evaluation of students (Peterson et al.,

1997). In 1993, Peterson et al. (1997) noted that the title of the organization changed to
9
incorporate programs, although the acronym remained NCSPP. After the 1993

conference, the APA asked two representatives from NCSPP to sit on its Committee on

Accreditation (Peterson et al., 2006).

In 1994, the NCSPP reflected upon their educational model in attempt to integrate

work that was occurring in the field (Peterson et al., 1997). Related specifically to

curriculum and training, this conference addressed "the requirement of a competency-

based core curriculum in which practical and scientific knowledge, skills, and attitudes

are integrated" (Peterson et al., p. 375).

The core competencies were again discussed in 2002 at the "Competencies

Conference: Future Directions in Education and Credentialing in Professional

Psychology" (Bieschke, Fouad, Collins, & Halonen, 2004; Kaslow et al., 2004;

Krishnamurthy et al., 2004; Spruill et al., 2004). The mission of this conference was

"toward gaining greater agreement about domains and levels of competence by bringing

together representatives from diverse education, training, practice, public-interest,

research, credentialing, and regulatory constituency groups" (Kaslow et al., p. 701). The

themes acknowledged across each of the competency domains were identification,

training, and assessment.

In the past year, the NCSPP completed a review and revision of the, now, seven

Core Competencies (Dobbins, 2007). These competencies are: "(1) Relationship, (2)

Assessment, (3) Intervention, (4) Diversity, (5) Research/Evaluation, (6)

Management/Supervision, and (7) Consultation/Education (Dobbins, p. 1)." These

competencies are now placed within Developmental Achievement Levels (DALs), which
10
"describe the knowledge, skills, and attitudes within each competency across three stages

of training (begin practicum, begin internship, completion of degree)" (Dobbins, p. 1).

Each of the competencies is further broken down into specific domains. Each domain is

assessed in terms of knowledge, skills, and attitudes across the three levels of training.

The Developmental Achievement Levels (DALs) model was approved by the NCSPP

membership on August 15, 2007 as the NCSPP education and training model in

professional psychology (Dobbins).

Relationship Competency

"The NCSPP competency-based model of training is a dynamic and evolving

education approach that successfully responds to the societal needs and shifts in

education priorities" (Dobbins, 2007, p. 3). It should be noted that the competencies

established by the NCSPP are consistent with the APA's Committee on Accreditation

requirement that programs have a philosophy about education and training that is fitting

to the practice of psychology (Kaslow et al., 2004; Peterson et al., 1997; Peterson et al.,

2006).

For the interest of this dissertation, the relationship competency will be the focus

of further training discussion. While the skills discussed in this dissertation overlap into

each of the competencies, the competency specified is most relevant. According to the

Standards for Education in Professional Psychology (in press):

Relationship is the capacity to develop and maintain a constructive working

alliance with clients and includes the ability to work in collaboration with others
such as peers, colleagues, students, supervisors, and members of other disciplines,
11
 consumers of services and community organizations.. .The relationship
competency is a foundation and prerequisite of the other competencies. (Peterson,
Peterson, Abrams & Strieker, in press, as cited in Peterson et al, 2006, p. 27)

Peterson (2007) further indicated that "the relational functioning of professional

psychologists is greatly impacted by their awareness and connection to their self-identity"

(P- 11).

The current NCSPP education and training model divides the relationship

competency into six domains as follows: professional demeanor, self, other, interpersonal

connection, cultural adaptability, and ethics (Dobbins, 2007). Most relevant to the skills

of this dissertation are the domains of self, other, and interpersonal connection. The "self'

domain emphasizes and evaluates self-awareness and self-understanding. The "other"

domain emphasizes the understanding and appreciation of other individuals. The

"interpersonal connection" domain focuses on issues such as perspective taking,

communication, and negotiation (Dobbins). These domains require that students are

taught and must learn skills such as empathic listening and self-awareness; skills gained

from the training program in this dissertation. The relationship competency does not

speak to creativity directly. It is likely that creativity is embedded in each of the

competencies at some level, but is less likely measurable as a knowledge, skill, or

attitude. The need for creativity within the field of psychology and, specifically, within

training, will be discussed in detail later.

Peterson et al. (2006) indicated the need for training of interpersonal skills is also

embedded within the relationship competency. Training for the development of

interpersonal skills included "training in empathy, respect for others, and personal
12
relatedness—experiential learning with self-reflection and direct observation of behavior

and feedback by peers and experts" (Peterson et al, 1997, p. 380). These skills are

typically taught in basic clinical skills courses (Peterson et al., 1997).

"A certain degree of relational competency must exist prior to entering a graduate

program. Thus, this competency calls for an admissions level baseline competency in

areas such as respectful communication, self-awareness, basic relationship skills,

openness to others, and lack of obvious psychopathology" (Dobbins, 2007, p. 9). This

falls in line with the notion that empathy and communication skills are either innate or

difficult to teach (Spruill et al., 2004). This topic will be discussed further in the empathy

and trainee sections of this dissertation. However, this notion within the NCSPP model

for education and training in professional psychology that students must come in with

baseline relational skills may be related to the fact that there is a lack of research focusing

on helping skills training today.

In the 2002 Core Competencies Conference, valued aspects of training were

experiential techniques such as role-play and vignettes, the importance of mentoring

relationships, the integration of science and research into practice, the commitment to

continuous life-long learning, and the need to train students to be self-aware (Kaslow et

al., 2004). Spruill et al. (2004) indicated that training for relationship and communication

skills should include experiential techniques such as empathy training through role play

and self exploration activities along with didactic training. They indicated that individual

and cultural differences were best learned through experience.

13
 As mentioned above, training on specific helping skills such as empathy,

listening, and self-awareness are likely under the umbrella of the relationship

competency. However, training for these skills was not found in the professional

psychology training literature. Counseling and counseling psychology literature

addressed these skills using the terms helping skills or pre-practicum skills (Hill & Lent,

2006). First, we will look at Carl Rogers' and client-centered therapy as a basis for

understanding helping skills and relationship training. It is the belief of this writer that

Rogers' techniques and theories are utilized in many helping professions as well as

different theoretical orientations within psychology.

Carl Rogers/Client-Centered Therapy

Client-centered therapy focuses on the helping relationship between the client and

therapist. One of the parties in the relationship is focused on "promoting the growth,

development, maturity, improved functioning, improved coping with life of the other"

(Rogers, 1961, p. 40). It is assumed that the person intent on helping is the therapist. The

three main aspects within this relationship that the therapist needs to emphasize are

empathy, unconditional positive regard, and genuineness (Rogers, 1961). In 1942, Rogers

stated as a basic hypothesis for psychotherapy as follows,

Effective counseling consists of a definitely structured, permissive relationship

which allows the client to gain an understanding of himself to a degree which
enables him to take positive steps in the light of his new orientation, (p. 18)

In 1959, Rogers' defined empathy "to perceive the internal frame of reference of

another with accuracy, and with the emotional components and meanings which pertain
14
thereto, as if one were the other person, but without ever losing the "as if' condition"

(Hackney, 1978, p. 210). However, definitions of empathy have changed and developed

over time and Rogers' own definition is no exception. Rogers' later described empathy

as a process rather than a concept and as "entering the private perceptual world of the

other and becoming thoroughly at home in it" (Rogers, 1995, p. 142). Empathy as a

construct will be discussed in detail later.

Rogers described unconditional positive regard as the therapist expressing

positive attitudes of warmth, caring, liking, interest, and respect toward the client

(Rogers, 1961). Genuineness within the relationship between therapist and client

manifests by the therapist's words or actions matching his or her own internal feelings

(Rogers).

"Although Rogers (1942) first considered the facilitative conditions as skills (e.g.

restatements, reflections of feelings) that could be taught, he later came to the conclusion

that they were attitudes that could not be taught (1957)" (Hill & Lent, 2006, p. 155). In

1951, Rogers indicated significant trends in the training of therapists as follows: a trend

away from technique toward relationship, a trend of utilizing one's attitudes to develop

individual techniques, a trend toward the student's experience of therapy within the self,

and a trend toward the practice of therapy within training (Rogers, 1951).

Rogers also believed role-taking and simple interviewing to be important in the

training of psychotherapists (1951). He described role-taking as follows,

Students are encouraged to take the role of someone whom they know well, and
talk out some of the problems of this person, with another student acting as
counselor. As described, this device may seem artificial, but it develops a
 surprising amount of reality and at times can become just as real for the counselor
as actual therapy. (Rogers, 1951, p. 469)

He encouraged students to counsel one another's minor problems to further enact the

relationship between therapist and client (Rogers).

Rogers also focused on the supervisory relationship in the training of the

therapist.

The general principle which seems to apply here is that if the climate of the
teaching situation, and the relationship between the teacher and the beginning
counselor, are the same as the climate and the relationship which exist in therapy,
then the young therapist will begin to acquire a knowledge in his viscera of what
the therapeutic experience is. (Rogers, 1957, p. 81, as cited in Truax, Carkhuff, &
Douds, 1964, p. 241)

Rogers developed a training curriculum for graduate education similar to the premise of

client-centered therapy (Rogers, 1969). He indicated the major focus of the program

would be to set up an environment in which creative learning and self-directed study

could take place (Rogers, p. 190). He believed that students should be selected for

graduate programs based on their intelligence, their empathic ability, and their degree of

spontaneous curiosity and originality (Rogers).

In A Way of Being, Rogers reiterated the value of combining experiential learning

with cognitive learning as he had suggested throughout his career related to ideas of

teaching and learning (Rogers, 1995). "Rogers was the first person to move the training

of counselors out of the realm of the mysterious to the realm of the observable and

trainable by making audiotape recordings of sessions using a one way-mirror" (Baker et

al., 1990, p. 357). Rogers' theories led to further research on helping skills training,

models for such will be discussed below.

 Helping Skills Training/Pre-practicum Training

Helping skills training is focused on techniques such as reflection of feelings,

listening, warmth, open questions, and interpretations (CarkhufF, 1966; Hill & Lent,

2006; Ivey et al., 1968). These skills were typically taught in training programs prior to

individualized supervision or practicum training, thus these skills were also termed pre-

practicum training (Carkhuff; Hill & Lent; Ivey et al ). Although helping skills training is

a common first step in training programs today, the impact and effectiveness of this

training is not fully understood Research on helping skills training declined dramatically

after the late 1960s and early 1970s (Carkhuff; Hill & Lent; Ivey et al ). Research

suggested that novice therapists can learn basic helping skills relatively quickly, but

noted an assumption of training effectiveness has decelerated research in this area (Baker

et al, 1990). Research also indicated that anxiety can impact the beginner therapist's self-

efficacy which negatively impacts the utilization of helping skills in counseling related

behaviors and clinical situations (Lent, Hill, & Hoffman, 2003). Helping skills training

models that received the most empirical attention will be discussed below.

Each of the training models discussed was based in Carl Rogers' theories of

client-centered therapy (Hill & Lent, 2006). In 1964, Truax et al. indicated therapists

needed didactic training to shape behavior and experiential training to promote growth

and development. By 1972, Carkhuff developed the Human Relations Training model

(HRT), also called Integrated Didactic Experiential Training (IDET) (Hill & Lent, 2006)

or the Human Resource Development Model (HRD) (Baker et al, 1990). This model was

closely tied with Rogers' theories in that "Training and therapy share a common goal in
17
this system by providing the facilitative conditions necessary to enable the trainee or

client to grow toward greater self-actualization" (Baker et al, p. 359). It was also the most

influential and widely used of the training models in counselor education programs

(Baker et al ).

The three major stages therapists progress through with a client were: self-

exploration, understanding, and action (Hill & Lent, 2006). These stages were facilitated

through the use of empathy as an objective measure, attending or communicating skills,

and through the use of problem-solving or behavioral techniques (Hill & Lent). Empathy,

genuineness, and respect were considered the core conditions (Toukmanian & Rennie,

1975). There are two phases in HRT. The first is discrimination training where the

trainees listen to audiotape recordings of counselor communications, the second is

communication wherein trainees role-play and practice communicating skills

(Toukmanian & Rennie).

Ivey's microcounseling (MC) or microtraining was another popular training

program (Baker et al., 1990; Hill & Lent, 2006; Ivey et al., 1968). Derived from social-

learning theory, "MC introduced the idea of identifying clearly delineated discrete

behaviors, such as attending, reflection of feeling, summarization, or self-disclosure and

teaching them systematically, one at a time, and then integrating them" (Baker et al., p.

358). MC focused on similar skills used in HRT, but did not utilize a stage model as did

HRT (Hill & Lent). MC focused on the hierarchy of attending behavior, minimal activity

responses, and following behavior (Toukmanian & Rennie, 1975).

18
 MC involves teaching helping skills through (a) having trainees perform a
baseline interview; (b) providing instruction and modeling on a specific skill; (c)
having the trainee practice; and (d) providing feedback on how well the skill was
implemented. (Hill & Lent, p. 156)

In contrast to HRT, MC utilized role-play as a focal point of training throughout each

step and worked through a video medium in the training of counselors (Toukmanian &

Rennie).

Kagan developed another major training approach called Interpersonal Process

Recall (IPR) based on the discovery model of learning (Baker et al., 1990; Hill & Lent,

2006; Kagan & Schauble, 1969).

The IPR system is based on the theory that counselors, even beginning
counselors, perceive and understand much more of their communication with the
client than one would suspect, and that beginning counselors do not attend to
portions of interviews because of performance anxiety and a preoccupation with
impression management. (Baker et al., p. 360)

In IPR, trainees watched a videotape, practiced responses to the videotape, conducted an

interview, and then were asked questions by an "inquirer" about their thoughts and

feelings during the interview (Baker et al.; Hill & Lent). They were asked about what

thoughts and feelings may have interfered with the process of the interview (Hill & Lent).

The trainees then processed the questions asked by the inquirer with their interviewee

(Baker et al ). The overall purposes of IPR encouraged students to foster self-awareness

about own behaviors, thoughts, and the importance of the therapeutic relationship (Baker

et al.).

Narrative reviews of these training programs revealed inconsistent findings

(Baker et al., 1990; Hill & Lent, 2006). Some studies suggested that previous research on
HRT had methodological problems, while others found HRT to be effective (Baker et al.;

Hill & Lent). Other studies indicated that MC could be taught effectively, especially

when combined with IPR (Baker et al.; Hill & Lent).

Meta-analytic studies found that trainees benefited more from HRT than MC or

IPR, and more from MC than IPR (Baker et al., 1990; Hill & Lent, 2006). However, the

research indicated differences in hours needed in each training model, HRT the longest

amount of time and MC the least amount of time. The hours spent in training was related

to cost-effectiveness of the program (Baker et al ). Baker et al. found evidence of support

for all three models, but indicated further research and development would be needed.

Another major finding from this research suggested the importance of the trainer.

Both HRT and MC relied on the ability of the trainer in providing modeling and didactic

training, whereas EPR depended upon an "inquirer" to aid the trainee in their own

findings (Hill & Lent, 2006). This suggested that IPR might be more beneficial after

basic helping skills training occurred (Hill & Lent). In their meta-analytic study of the

literature, Hill and Lent, found support for HRT and MC as valid helping skills training

programs.

Hill and Kellems (2002) developed a Helping Skills Measure (HSM) to assess

beginning helpers in sessions. They found that HSM was valid and could be used to

evaluate client perception of counselor's helping skills (Hill & Kellems). The training

programs assessed in their research integrated aspects of HRT, MC, and IPR (Hill &

Lent, 2006). The training model followed three stages:

20
 Exploration (involves attending skills, open questions, restatements, and
reflections of feelings), insight (involves challenges, interpretations, self-
disclosures of insight, and immediacy), and action (involves information and
direct guidance). (Hill & Lent, p. 158)

The researchers found increases over the course of training in the use of helping skills,

relationship building, and in-session aptitude (Hill & Kellems).

In looking at the specific methods within these programs, Hill and Lent (2006)

found that narrative reviews cited modeling, rehearsal/practice, instruction,

feedback/supervision, self observation/confrontation, cocounseling, and deconditioning

of anxiety as effective. In their own meta-analytic study, Hill and Lent confirmed the

results found in narrative studies. They concluded that instruction, modeling, and

feedback were effective in teaching exploration skills (Hill & Lent). They also found that

the modeling method outperformed instruction and feedback (Hill & Lent).

Hill and Lent (2006) noted that much of the research is based on MC, which, as

mentioned earlier, was influenced by Bandura's social-learning theory, thus the research

is reliant on cognitive constructs such as instruction, modeling, practice, and feedback.

They indicated a need to understand these processes and skills in a flexible, client-

centered manner. However, other research supported the cognitive approach to

supplement behavioral skills training (Morran, Kuprius, Brack, & Brack, 1995). Empathy

and other skill definitions were also noted as vague terms (Hill & Lent). These

researchers were surprised to find no investigations of trainer effects and structural

variables within the literature (Hill & Lent).

21
 Larson (1998) described a social cognitive model of counselor training using a

drama metaphor. The counselor portrayed the major character, and the client and the

supervisor played supporting roles. A triadic, reciprocal causation process was explored

and discussed as a dynamic interplay (Larson).

Other research on early counselor training has called for a shift in focus to

problem-solving strategies rather than listening skills (Lopez, 1985). The researcher

indicated that anxiety, lack of management, inadequate problem clarification, and

premature intervention was due to lack of instruction in verbal skills and structuring

methods (Lopez).

Helping Skills Training and Self-Efficacy

"Counseling self-efficacy is described as one's beliefs or judgments about ones

capabilities to effectively counsel a client in the near future" (Larson et al. (1992) as cited

in Larson, 1998, p. 221). Larson indicated that self-efficacy is a term within Bandura's

social-learning theory, but is usually studied on its own. Leach and Stoltenberg (1997)

indicated that trainees experience anxiety and low self-efficacy related to evaluation

anxiety, performance anxiety, and lack of understanding surrounding the complexities of

counseling, even though they receive basic knowledge and skills. Self-efficacy related to

a trainee's perception of his or her skill set rather than the actual skill set (Bandura, 1986,

as cited in Larson).

Self-efficacy is assumed to impact trainee's clinical functioning (Larson, 1998).

Larson and Daniels (1998) noted that counselor self-efficacy correlates positively with
22
satisfaction, and negatively with anxiety in relation to the counseling role. In beginning

trainee's, Hill and Lent (2006) noted that self-efficacy can decline when trainees realize

that helping skills utilized in friendships may differ from the skill set needed in therapy.

In a study evaluating self-efficacy, anxiety, counter-transference management, and

therapeutic skills, Nutt-Williams et al. (1997) found that although trainees displayed

evidence of growth during a training semester, they continued to struggle with feelings of

anxiety, frustration, inadequacy, and distraction. Another study found that self-efficacy

increased over time in a counseling program and in practice (Melchert, Hays, Wiljanen,

& Kolocek, 1996).

Melchert et al. (1996) noted a 1986 review of psychotherapy outcome research by

Orlinsky and Howard and stated that, "in two thirds of the research results, client

outcome was positively related to therapist self-confidence, whereas therapist

'unsureness' was never positively related to outcome" (p. 640). Levitt (2001) found that a

training program focusing on listening skills over other microskills used in teaching

beginning counselors was a contributing factor to increases in self-efficacy and

performance in other areas. Larson and Daniels (1998) further indicated that role-play,

modeling, and positive feedback promote self-efficacy.

Another study looked at the training techniques of role-play and videotape

modeling and their impact upon trainee self-efficacy (Larson et al., 1999). They found

that both techniques impacted self-efficacy in the counselor in training. Role-play was

more volatile, increasing self-efficacy significantly in trainee's who felt they performed

well, but for trainee's who believed they performed less well, self-efficacy dropped
23
significantly (Larson et al ). Videotape modeling was less potent as far as the impact on

self-efficacy. It was a safe method for increasing self-efficacy minimally (Larson et al ).

They suggested that utilization of videotape modeling can increase the chance of

successful role-plays later in training (Larson et al.).

In developing an assessment of self-efficacy, Lent et al. (2003) conceptualized a

model of self-perceived capability across three sub-domains. These subdomains were as

follows: to perform basic helping skills, to manage session tasks, and to negotiate

challenging situations and presenting issues (Lent et al ). They found the measure to be

reliable and that self-efficacy increased with amount of experience. They further found

that self-efficacy can be divided into two concepts, task self-efficacy and coping self-

efficacy. Both task and coping are necessary for development, and it appeared that

coping self-efficacy builds upon the more basic task self-efficacy (Lent et al.).

Research on Trainees

In their analysis and review of the literature, Hill and Lent (2006) noted that

students entering training programs may have more ability towards support and guidance.

They further asserted that people with natural helping abilities will be easier to train. In

contrast, they indicated that training may not impact persons with a greater skill level as

much as persons with a lower skill level. This idea is similar to a finding by Baker et al.

(1990) in that undergraduates displayed greater improvement with helping skills training

than graduate students, although undergraduates lost these skills more quickly than did

the graduate students.

24
 There are many variables that factor in to ability to be trained appropriately.

Factors include type or value of school, trainer, and previous experience (Hill & Lent,

2006). Another issue to consider is the quality of the student being accepted into graduate

programs. Research indicated that character and fitness are of great importance to

directors in evaluating applicants (Johnson & Campbell, 2004). However, the assessment

work group in the 2002 competencies conference noted a lack of preparedness in

incoming students (Krishnamurthy et al., 2004). Overall, there seems to be a lack of

research on trainee variables

The next sections will be devoted to the specific skills this training program will

work to strengthen in psychotherapists. It should be noted that there is overlap between

these skills and others in counselor training.

Empathy

Empathy was translated into English from the term einfuhlung (in-feeling) in the

last century (Escalas & Stern, 2003). Before that, the term empathy was enmeshed with

the idea of sympathy and the term mitgefuhlung (with-feeling). The difference between

these words lies in the ability to remain emotionally conscious. To experience sympathy

one may be aware of the feelings of another but is not absorbed in the feelings

themselves, while, when experiencing empathy, one may forget their own personal

existence by sharing the feelings of the other (Escalas & Stern).

The earliest therapeutic use of the term empathy was by Carl Rogers in client-

centered therapy, although other researchers may have described the phenomenon before
Rogers labeled it (Hackney, 1978). Rogers introduced empathy as "one of the six

necessary and sufficient conditions for positive personality change to occur" (Rogers,

1957, as cited in Hackney, p. 36). Over the years, the definition of empathy has changed.

As mentioned in the section about Carl Rogers, his description of empathy changed from

his first discussion in 1957 to a later depiction of deep empathy in 1980 (Glanzer, 2006;

Hackney).

The term empathy has several definitions, some of which have been noted

previously. Rogers (1957) defined empathy "to perceive the internal frame of reference

of another with accuracy, and with the emotional components and meanings which

pertain thereto, as if one were the other person, but without ever losing the "as if'

condition" (p. 210, as cited in Hackney, 1978). Other leading researchers in the field of

empathy defined it as, "an affective response more appropriate to someone else's

situation than to one's own," (Hoffman, 1987, p. 48), "an affective response that stems

from the apprehension or comprehension of another's emotional state or condition, and

that is similar to what the other person is feeling or would be expected to feel"

(Eisenberg, 2002, p. 135), and "the capacity to think and feel oneself into the inner life of

another person" (Kohut, 1984, p. 82). Some researchers suggested empathy could be

broken down into separate entities of emotional empathy and cognitive empathy (Davis,

Hull, Young, & Warren, 1987). Smith (2006, p. 3) defined cognitive empathy as "mental

perspective taking" and described emotional empathy as "the vicarious sharing of

emotion."

26
 But how does one learn to use empathy in life, and, for mental health workers, in

therapy? Patterson (2002) indicated that the capacity for empathy has some biological

component. By age two, infants are able to identify themselves as separate individuals.

Once this separation is established, the infant can feel empathy for others (Eisenberg,

1995). Hoffman (1979) suggested that there is a developmental schedule for the

development of empathy in children; from the two-year-old toddler who can understand

others' distress, to a six-year-old who can cognitively "walk in another's shoes," to an

adolescent who can begin to think abstractly enough to empathize with a group of

individuals.

Yet experience also impacted one's development of empathy. Although it is

biologically programmed, experience may enhance or interfere with a child's emerging

ability to empathize (Hoffman, 1987). This experience is usually related to the parent-

child relationship. The parent either engenders empathy in the child by discussing

feelings and displaying their own empathy for others, or negates the development of

empathy by threatening, scolding, or punishing the child using inappropriate methods

(Eisenberg, 1995).

There is debate surrounding the notion of teaching empathy. Some believe that

empathy and listening are innate skills that cannot be taught (Spruill et al., 2004).

However, each of the helping skills training programs discussed earlier described

methods attempting to increase empathic ability in the beginning trainee. Methods such

as role-play, modeling, instruction, and feedback were used to improve trainees'

27
empathic ability in HRT, MC, and IRP (Baker et al., 1990; Hill & Lent, 2006; Ivey et al.,

1968; Kagan & Schauble, 1969; Truax et al., 1964).

Hackney noted incongruity in the training of empathy.

Counselor trainers add a different dimension by seeking to create empathy in their

students, thus leading to an apparent paradox. Their efforts are directed toward the
training to be spontaneous in one's response to an affective state of a second
person. (Hackney, 1978, p. 35)

Further, he observed that the definition of empathy has changed from Rogers' subjective

description of a condition and process to a more definable and measurable condition that

can be studied (Hackney). As often occurs in research, empathy needed to become more

measurable, thus the focus switched to the communication of empathy rather than the

condition. Educators understood that communication skills' training was easier than

empathy skills training (Hackney). Hackney urged trainers to remind themselves not to

confuse the terms of communication and empathy. "These are (we hope) the

manifestations of empathy and we can't be altogether sure that they are that" (Hackney,

p. 37). Hackney recommended trainees work to allow for empathy rather than train for it.

Of note related to this dissertation is the use of drama in other helping professions

empathy training. The education and medical fields have studied how to teach empathy to

children and medical students, respectively. Crosser (2002) indicated specific methods to

educate children about empathy. These methods were as follows: model caring behaviors,

name emotions, interpret emotions, role play helpful behaviors, be supportive, and teach

conflict resolution. Current research in child and medical education expanded on the idea

28
of role-playing behavior by using acting and theatre to teach children and medical

students how to utilize empathy.

In educational research, Verducci (2000) examined acting and the use of "The

Method", a technique actors utilize in order to understand and play characters. Founded

by Stanislavski, the actor's job using the Method "is not to present merely the external

life of his character. He must fit his own human qualities to the life of this other person,

and pour into it all of his own soul. The fundamental aim of our art is the creation of this

inner life of a human spirit, and its expression in an artistic form" (Stanislavski, 1936, p.

14). Verducci indicated that the Method breaks down the process of empathy into

identifiable steps; therefore, these techniques may be valuable to educators. Further, she

discussed the following Method steps as techniques to use in teaching empathy , cognitive

understanding through textual and contextual analysis, attention and attunement to the

behavior of others, motivational shifts and substitutions, and duality (Verducci).

In medical research, studies indicated that merely watching a theatrical

performance may increase empathy in a medical student. Similar to the field of

psychology, medical education research indicated that empathy improves the doctor-

patient relationship (Deloney & Graham, 2003). Deloney and Graham found after

watching and discussing a performance of "Wit", a play about a woman dying of cancer,

medical students' attitudes changed and empathy improved. Shapiro and Hunt (2003)

also discussed the use of theatrical performance to increase understanding and empathy

for medical patients. They discussed the current use of role-play to promote empathy in

medical education, and indicate that dramatic performances can be an adjunct method in
teaching empathy to students. Larson and Yao (2005) suggested that techniques such as

"deep acting" and "surface acting" can be taught to medical students to promote empathy

with their patients. Deep acting methods used "imagination and emotional memories to

generate genuine feelings of empathy for the patient," and, in the surface acting method,

the "doctor forges emotional expressions inconsistent with internal feelings" (Larson &

Yao, p. 4). Deep acting was preferred.

Listening/Empathic Listening

Listening is a skill that, in research literature, is tied to the construct of empathy.

In some cases, the construct is labeled empathic listening (Irwin, 1986; Myers, 2000).

Murphy and Dillon (2003) asserted that clinical listening refers to focused attention and

vigilance to everything that is going on in the session and in the relationship, both

verbally and non-verbally. They further indicated that what we are able to listen to and

hear is shaped by our own experience (Murphy & Dillon).

In reference to a previously mentioned study, emphasizing active listening over

other skills in helping training was found to increase self-efficacy (Levitt, 2001). Toller

(1999) described listening as the heart of the counseling approach. Spruill et al. (2004)

discussed listening as a component of communication. "Therapists need to learn how to

listen attentively, both to what is being said and what is not being said, sometimes

referred to as "listening with the third ear"(Spruill et al., p. 744).

Spruill et al. (2004) noted that listening skills can be learned from textbooks

devoted to communication and listening, topics usually presented in beginning

psychotherapy classes. They later noted that experiential activities focusing on

development of oral and written skills should be used in training.

Although it is important to note that empathy and listening are distinct concepts,

for the purposes of this project, these constructs will be linked as empathic listening. As

mentioned above, empathy is a condition or process that must be allowed for, while

listening is a communication skill that is more easily measured. However, within the

boundaries of an improvisation or drama class, these concepts are more fluid. Training of

these skills will be representative of how they are enacted in a therapeutic relationship

rather than as the objective measures that are needed for research situations.

Self-Awareness

Self-awareness is integral to counselor effectiveness and a critical component of

being a skilled therapist (Corey, Corey, & Callahan, 1998; Jennings & Skovholt, 1999).

"Self-awareness is the consciousness a person has of specific events that influence his or

her psychological, social, emotional, and cultural attributes" (Sommers-Flanagan &

Sommers-Flanagan, 1993, as cited in Brown, Parham, & Yonker, 1996). They farther

stated that self-awareness includes identity as influenced by the perception of self and

others (Brown et al.).

Hill and Lent (2006) noted that self-awareness of one's own intentions and

motivations may be necessary for trainees in order to employ helping skills. They

indicated that self-awareness facilitation techniques might best be utilized before training

31
in helping skills (Hill & Lent). However, it is likely that self-awareness needs to be an

on-going process throughout training and beyond.

Self-awareness was also represented in the literature within the therapeutic

situation. Sometimes referred to as self-talk, self-awareness was found to be effective in

helping the trainee understand useful self-information in relation to their clients (Nutt-

Williams et al., 1997). They found that self-awareness could help a trainee manage his or

her own reactions. However, while early research indicated that negative self-talk within

a therapeutic situation led trainees to believe themselves to be less helpful, and linked

self-awareness to increased anxiety (Nutt-Williams & Hill, 1996, as cited in Hale &

Stoltenberg, 1988), later research results indicated that self-awareness within a

therapeutic situation was helpful to trainees rather than hindering (Fauth & Nutt-

Williams, 2005).

Self awareness was a component of the relationship competency as part of the six

core competencies in training professional psychologists (Peterson et al., 1997). Of note

was the "belief in the value of self-awareness" (Peterson et al., p. 380). Self-awareness

was also an important component in the training of psychotherapists at the NCSPP's Core

Competencies conference in 2002 (Krishnamurthy et al., 2004; Spruill et al., 2004).

"There was widespread acknowledgement of the importance of self-assessment, inclusive

of a cultural self-awareness (i.e., reflecting on personal biases, assumptions, and values,

and evaluating their potential impact on clients and the processes of psychological work)"

(Krishnamurthy et al., p. 737). Self-awareness was also highly valued within the

32
relationship competency of the most recent NCSPP model for education and training for

professional psychologists (Dobbins, 2007).

Irwin (1996) indicated that self-awareness could be facilitated through one's own

personal therapy. Spruill et al. (2004) indicated that self-awareness could be garnered

through work with one's supervisor as personal issues arise in therapy. In his article,

"Know Thyself," Hulnick (1977), utilizing the Socratic term, indicated self-awareness

can be achieved in knowing; nothing is impossible, openness to experiences, and

forgiving ourselves. He stated, "We need to be able to skillfully guide our clients and

students down into the hell of their own pain, distortion, and illusion; we need to work

with them until they are literally and symbolically born anew" (Hulnick, p. 69).

Creativity

One of the training methods cited by the Scientific Foundations and Research

Competencies work group of the NCSPP's 2002 Core Competencies conference was,

"teaching science as a creative enterprise" (Bieschke et al., 2004, p. 720). Although much

of the research and literature in psychology relates to science, there is recognition that

creativity exists within a therapeutic relationship. Irwin (1986) noted that creativity is

central to therapy, as "therapy is, after all, a healing process involving renewal and re-

creation" (p. 194). In the 2005 NCSPP conference which centered on improving

teaching, one of the main aspects was to learn how teachers of psychology incorporated

creativity into their classrooms (Dittman, 2005). However, as creativity is not objective

33
and measurable, research in this area is limited and disparaged for not being 'scientific'

enough.

Rogers defined the creative process as, "the emergence in action of a novel

relational product, growing out of the uniqueness of the individual on the one hand, and

the materials, events, people, or circumstances of his life on the other" (Rogers, 1961, p.

350). Related to therapy, he stated,

The mainspring of creativity appears to be the same tendency which we discover

so deeply as the curative force in psychotherapy - man's tendency to actualize
himself, to become his potentialities. By this I mean the directional trend which is
evident in all organic and human life - the urge to expand, extend, develop,
mature - the tendency to express and activate all the capacities of the organism, to
the extent that such activation enhances the organism or the self. (Rogers, pp.
350-351)

Rogers tied the creative potentials of the individual to the client, the therapist, and the

relationship itself.

In his studies of the psychology of creative persons at Berkeley, Frank Barron

discussed creativity as "the ability to bring something new into existence" (Rothenberg &

Hausman, 1976, p. 190). His research suggested that creative personalities were

associated to the capacity to generate novelty (Rothenberg & Hausman).

In "The Courage to Create," Rollo May stated "creativity is the stepchild of

psychology" (May, 1975, p. 37). He defined creativity as "the process of bringing

something new into being" (May, 1975, p. 39). He further identified a process of

creativity starting with an encounter between a person and the world, the engagement of

the person in this encounter, and finally the absorption, in which the person is wholly

involved with this engagement (May). He discussed creativity as subjective and therefore
34
difficult to study. As it is difficult to define objectively and measure, it is generally

avoided compared to the measurable attributes within the science of psychology.

May also discussed creativity within psychoanalytic theory. In this context, he

described creativity as a reductive process, usually attributed to a client's regression

(May, 1975). He discussed Adler's compensatory theory of creativity in which humans

produce art, science, and other aspects of culture to compensate for their own

inadequacies (May). While he applauded the discussion of creativity, he disagreed with

the idea of reducing creativity to some other process (May).

Related to creativity, May discussed imagination in juxtaposition to form (May,

1975).

Imagination is the outreaching of mind. It is the individual's capacity to accept the

bombardment of the conscious mind with ideas, impulses, images, and every
other sort of psychic phenomena welling up from the pre-conscious. It is the
capacity to "dream dreams and see visions," to consider diverse possibilities, and
to endure the tension involved in holding these possibilities before one's attention.
(May, p. 120)

He discussed the disparagement of imagination as unscientific within the realm of

psychology compared to the preferred notions of objectivity and facts (May). He further

depicted imagination in comparison to the field of psychology.

Throughout Western history our dilemma has been whether imagination

shall turn out to be artifice or the source of being. Is psychotherapy an
artifice, a process that is characterized by artificiality, or is it a process that
can give birth to new being? (May, p. 125)
Other studies of creative personalities indicated that the creative persons tend to

be more open to experience, more flexible, less rigid, more tolerant to ambiguity, and

more sensitive to problems than less creative persons (MacKinnon, 1960; Taylor, 1964;

35
as cited in Cicirelli & Cicirelli, 1970). Cicirelli and Cicirelli quote Torrance (1964, p.

165) in his parallel between the ideal therapeutic relationship and the creative

relationship,

.. .to achieve the relationship... one must enter imaginatively into the thinking and
feeling experiences of another. Only by doing this can one participate completely
in another's communicating, keep his comments in line with what the other is
trying to say, understand his feelings, follow his line of thought, and share his
feelings. (Cicirelli & Cicirelli, p. 178)

Role-Play

As role-play is discussed as one of the main experiential techniques in

psychological literature, it will be discussed as a technique within this field, and later

discussed in relation to theatre and drama. A brief look at role-theory will inform the

origins of role-play.

In his work, The Study of Man, Ralph Linton presented the idea of role as the

dynamic aspect of status (Linton, 1937). He stated,

Every individual has a series of roles deriving from the various patterns in
which he participates and at the same time a role, general, which
represents the sum total of these roles and determines what he does for his
society and what he can expect from it. (Linton, p. 114)

Erving Goffman (1959) developed a definition of role-theory as a theatrical metaphor.

Comparing the presentation of self with the presentation of an actor, he linked the human

person to his appearance to others, and to himself via others (Goffman; Wilshire, 1982).

He described interactions between people, where one makes any attempt to influence the

36
other, as performance. He assumed that an individual has many motives for trying to

control the impression they receive and give in any situation (Goffman).

Dayton (2005) discussed Jacob L. Moreno's view of role-theory from a

psychodramatic, sociometric, and sociodramatic perspective. She indicated that feelings,

thoughts, and behaviors tend to be role specific, and that the self emerges from the roles

we play from infancy through adulthood (Dayton, p. 149). Landy indicated several

assumptions at the heart of role theory (Landy, 2001).

The first is that human beings are role-takers and role-players by nature... human
behavior is highly complex and contradictory and any one thought or action in the
world can be best understood in its counterpart., .(and) personality can be
conceived as an interactive system of roles (Landy, p. 31).

Role playing involves playing out the many roles within oneself (Emunah, 1994).

In psychotherapy training situations, it usually involves taking on the role of client or

therapist. Role-play has been accepted as a standard component of therapist education

programs (Baker et al., 1990; Shurts et al., 2006).

It is widely agreed that teaching effectiveness can be improved with deliberate

role-playing, but there is a lack of framework to enable classification, analysis,
and understanding of a variety of roles and the ways to use them effectively.
(Baruch, 2006, p. 44)

Research indicated that role-play and modeling increase a trainee's self-efficacy

compared to a control group without these experiential teaching techniques (Shurts et al ).

However, other research has noted that performance anxiety and the fear of judgment can

negatively impact the benefits of in-class role-plays (Larson et al, 1999; Styles, 2000).

Further, the validity of role-play has been difficult to assess in research given the

37
complexities of human behavior and the difficulty of re-creating these behaviors in a

classroom setting (Rubenstein, 2006).

Research on role-play is discussed primarily in family therapy literature, tied to

simulations of family scenarios (Shurts et al., 2006, Styles, 2000). Students report that

role-play often feels artificial within a classroom setting, but are often too intimidated to

train with actual families (Rich & Sampson, 1990). Larson et al. (1999) suggested that

modeling be used first as a technique with novice trainees, and then introduce role-play

with students preparing for practicum situations. Shurts et al. concluded in their research

that reflecting teams can help facilitate the understanding of in-class role-plays.

Styles (2000) discussed role-play in relation to self-awareness. "With the

discomfort and confusion during a role-play, a personal learning about becoming a

psychotherapist occurs.. .This personal learning is undervalued in training" (Styles, p. 1).

His findings suggested,

While playing the client, phenomenological responses to a real encounter occur

even though the situation is not an actual psychotherapy session. Training role-
plays evoke personal affect, suggesting a deep, personal level of learning occurs.
The studied role-plays reflect the personal transformation of becoming and
identifying oneself as a psychotherapist. (Styles, p. 3)

Emunah (1989) discussed role-playing in her work with drama therapists. In

psychology programs the client role is often portrayed in a superficial manner. She

indicated that therapists may benefit in their future training if they are equipped with

acting skills. She noted that role-plays could be more involved and take on a different

dimension (Emunah). The aim is to create full-fledged characters, people with inner lives

38
and to use theater skills to understand, empathize with, and portray clients (Emunah, p.

32).

As training in psychology has been discussed, I will now move to the benefits of

drama and elucidate how drama will aid in the training of psychologists.

Drama History and the Evolution of Acting

Drama is derived from the Greek word, dran, meaning a thing done (Landy,

1986). In ancient Greece, and first discussed in relation to Aristotle's Poetics, catharsis is

described as a purging, "an emotional release on the part of the spectators, or as the

recognition and purging of wrongdoing in the action of the play" (Worthen, 1996, p.

1302). "Aristotle proposed that the function of tragedy was to induce the emotional and

spiritual state of catharsis - a release of deep feelings that originally had a connotation of

purification of the senses and the soul" (Jones, 1996). Jones indicated Aristotle

established a theme that would be reiterated throughout the history of writing about

theatre in which,

The theme can be characterized as drama having a unique and direct relationship
with human feelings, and as being able to produce change in people's lives. At
different times in history different kinds of change have been emphasized - from
religious to political change, from an individual's psychological make-up to mass
societal change. (Jones, p. 44)

Before Aristotle, drama developed in Palaeolithic times from mimesis, a simple

imitation of real action (Burton, 1962). Mimesis developed into mime as symbols of

actions were constructed and mimes developed into ritual (Burton). Later, ritual became

enshrined in liturgy, which facilitated drama and the development of characters (Burton).
 Burton (1962) discussed the Coronation Play of Ancient Egypt as the oldest

written drama known. From this play, he discussed the constructs of kenosis and

plerosis. Kenosis was described as an "emptying, by purification and preparation" and

plerosis as "the filling with new life" (Burton, p. 40). Kenosis prepares the audience for

the reception of the plerosis (Burton). Burton further indicated literature originated in

drama and that the development of the Bible likely stemmed from drama.

Fox (1986) discussed the oral theatre as tradition before the development of the

literary theatre. Fox discussed Homer's Odyssey as created in the oral tradition which was

recounted by memorization of tales and improvisation and presented by Bards. He

further noted the purpose of oral theatre was to entertain, to instruct, to recite history, and

to make known the moral values of the society (Fox).

World theatre and drama differed in eastern and western traditions. Briefly,

theatre from non-westem tradition is said to share common features.

It blends aristocratic and popular affiliations; it is ritualized, descending from

social and religious ritual traditions; it coordinates acting, dance, music, and
spectacle; many of its plots and characters are derived from familiar literary and
historical narratives and legends; its performance conventions are elaborately
stylized and refined; and its performers are often trained with a level of formality
not found in Western theatre. (Worthen, 1996, p. 117)

Eastern drama includes but is not limited to Noh Theatre and Kabuki Theatre of Japan,

the Sanskrit epic poems of India, the Kamyonguk masked dance drama of Korea, and the

Peking Opera of China (Worthen). Eastern theatre is mentioned as it relates to modern

political theatre to be discussed later.

40
 Western understanding of drama and theatre began in Greece, where it played a

central role in politics, religion, and society (Worthen, 1996). In Greece, plays were

performed in the celebration of the god Dionysus (Worthen). In both Greek and Roman

theatre, acting was more of a song-like recitation by the chorus, rather than the acting we

think of today. In The Poetics, Aristotle discussed key terms within dramatic works and

the six elements of a tragedy. He proposed the unities of action, time, place which

continues to be relevant in theatre and art today. The unity of action: a play should have

one main action that it follows, with no or few subplots. The unity of place: a play should

cover a single physical space and should not attempt to compress geography, nor should

the stage represent more than one place. The unity of time: the action in a play should

take place over no more than 24 hours (Mandleberg, 2006). He further developed the

ideas of plot, character, language, theme, and the performative elements of music and

spectacle (Worthen). According to Aristotle, the role of theatre became one of healing

(Siroka, 1978).

Aeschylus, Sophocles, Euripides, and Aristophanes were also profound

playwrights of the time. Their works were central to life in the City Dionysia (Worthen,

1996). During the 6th and 7th centuries, actors became part of the festivals in order to

make the narrative experience more dramatic and immediate for the audience (Siroka,

1978). Around this time in Rome, theatre and drama were also central to the society.

However, Roman drama was related to more secular entertainment than was Greek drama

(Worthen). Drama and theatre waned with the fall of the Roman Empire.

41
 After a period of no theatrical performance, the Middle Ages defined a period of

theatre and drama existing to support the church. Plays were performed around religious

occasions. For example, morality dramas enacted the symbolic structure of Christian life

(Worthen, 1996). Secular plays were also performed, but lacked social and institutional

support (Worthen). Theatre and drama re-emerged with the aspects of theatre we see

today during the Renaissance of the 15th and 16th centuries (Worthen).

The Renaissance transformed theatre and drama into an "art" as well as theatrical

entertainment that was a commercial enterprise (Worthen, 1996). Theatre in Renaissance

London was reminiscent of the Greek dramas in that it was connected to the political and

social pressures of the new era (Worthen). While there was still religious unrest, theatres

such as Shakespeare's company, Lord Chamberlain's Men, were able to work under the

royals, and were able to profit from their newly formed corporations. In one of his many

famous plays, Hamlet, Shakespeare meditated on the purpose and limits of theatre. In the

first scene, Hamlet explains his and the play's "obsession with the arts of seeming, with

acting, performance, and theatre" (Worthen, p. 246). Hamlet questioned the notions of

performance and truth, constructs that are challenged in modern theatre and similar to the

masks of truth and reality that are apparent in psychotherapy.

After the Renaissance, theatre and drama moved into a neoclassical period.

Neoclassicism was a revival of the classical ordering of the arts (Worthen, 1996).

Aristotle's unities were again prominent in drama, as well were the constructs of tragedy

and comedy. Neoclassicism was more prominent in French theatre compared to English

theatre (Worthen).
42
 Periods of romanticism and restoration occurred in the 18th and 19th centuries. In

these periods, art was symbolic, but, at the same time, artists and audiences were

interested in reality. Plays were also written to be read as literature rather than staged in a

theatre (Worthen, 1996). By the 19th century, famous playwrights like Ibsen, Chekhov,

Strindberg, and Shaw wrote plays in opposition to the values of contemporary society,

and new theatre strategies were devised to find new audiences (Worthen).

Modern theatre, beginning in the latter half of the 19th century, established a

division between popular or mainstream theatre and experimental, avant-garde, or

modernist theatre (Worthen, 1996).

This modernist tendency has itself produced a kind of reaction, a desire to bring
the devices of popular culture and mass culture into drama, as a way of altering
the place of the theatre in society and changing the relationship between the
spectators and the stage. (Worthen, p. 7)

Modernist art also arose due to the popular forms of film, radio, and television, and its

marginalization in modem society.

Different forms of modern drama emerged. Naturalism and realism criticized the

values and institutions of middle-class society (Worthen, 1996). In realistic drama, the

individual accepts the world as unchanging, but continues to search for freedom, value,

and meaning. Expressionistic theatre then evolved in displaying dreamlike, exaggerated

characterizations, but continued to discuss the dehumanizing process of life. Other forms

that emerged were symbolist theatre, constructivist theatre, epic theatre, and surrealist

theatre (Worthen).

43
 Acting style changed in modern theatre as well. Stanislavski developed the most

well-known actor training program of the time.

Stanislavski trained the actor to associate his or her personal history with
the invented actions of the dramatic character so that the actor could tap
that emotional spontaneity, a "life in art," as part of the performance. By
using the magic if - imagining themselves as the character, rather than
applying a stock line of business - and using their own emotion memory
to vivify the character's inner life, Stanislavski's actors were taught to
bring authentic emotional experience into their performances. (Worthen,
1996, p. 570)

Actor and director Joseph Chaiken also described this shift in acting,

In former times acting simply meant putting on a disguise. When you

took off the disguise, there was the old face under it. Now it's clear that
the wearing of the disguise changes the person. As he takes the disguise
off, his face is changed from having worn it. The stage performance
informs the life performance and is informed by it. (Emunah, 1989, p. 35)

In the United States, 20th century acting training is derived from

Stanislavski's teachings of the 1930's. Members of the Group Theatre, including

Harold Clurman, Lee Strasburg, Stella Adler, Bobby Lewis, and Sanford Meisner,

all went on to teach the American acting style labeled The Method (Meisner &

Longwell, 1987).

However, other playwrights felt that acting should not be so realistic.

Bertolt Brecht indicated realistic acting was too focused on product rather than

process, and that realistic theatre was a biased social reality. He argued that the

actor should both empathize with the character and demonstrate the character to

the audience (Worthen, 1996). Brecht developed his ideas from the non-western

tradition of theatre. His political epic theatre enabled a more critical view of the

44
process of theatre, and allowed the audience to question dramatic effect and the

greater dialectical social reality (Worthen).

Other experimental theatre included Antonin Artaud's Theatre of Cruelty.

Artaud sought to break down the boundaries between acting and observing,

fiction and reality, and conscious and unconscious (Worthen, 1996). Theatre of

the Absurd tended to be about an inexplicable, arbitrary, or irrational world

(Worthen). Emunah (1994) described Artaud's focus on the language of dreams

and poetry. She indicated his work was closer to religious rite than to

entertainment. The audience's experience of this theatre is described as

existential, in that the audience must decide on the meaning for themselves

(Worthen).

Jerzy Grotowski, another experimental director, focused on the actor's

emotional process, which he envisioned as more of a spiritual process (Emunah,

1994). Grotowski's depiction of the holy actor discusses the elimination of blocks

rather than the accrual of skills (Emunah). "In performance, the actor, serving as a

kind of high priest/priestess, exposes and sacrifices this core, or truth, to the

audience, in the hope of inviting the audience to embark on a similar journey of

self-penetration and purging" (Emunah, p. 10).

Each of these experimental theatres influenced the non-scripted Living

Theatre (Fox, 1986). The Living Theatre roamed the world, "a defiant, often-

outlawed collective" (Fox). The Living Theatre and other theatres in the 1960's

sought either a new aesthetic or political reform (Fox).

45
 Augusto Boal's Theatre of the Oppressed is one of the more recent

philosophies of political theatre. Boal's theatre and vision is described "embodied

in dramatic techniques that activate passive spectators to become spect-actors -

engaged participants rehearsing strategies for personal and social change"

(Schutzman & Cohen-Cruz, 1994). Boal worked with actors and non-actors in

developing what he described as a theatre of transformation (Boal, 2002). In

working with non-actors, he utilized games and basic Stanislavski methods to

help the non-actor freely express their feelings and intentions. In his book, Games

for Actors and Non Actors (2002), Boal indicated that: "Artists are witnesses of

their times: ... they should help others to stimulate inside themselves the artists

that lie within, underdeveloped and timid as they may be, shy thoughts still

unborn and fragmented, the delicate sensibility that has been blunted" (Boal, p.

17). Further, he stated that his book,

Is concerned with developing in everyone, professional actor and non-

actor alike, what everyone already has: theatre within. We all are theatre,
even if we don't make theatre. All exercises, games and techniques in this
book can be practiced by everyone - skilled professional actors should use
the work to go deeper into their possibilities, because theatre is their
profession; non-actors should go as far as they choose or feel able to go,
because theatre is their vocation. (Boal, p. 17)

The Theatre of the Oppressed blurs the lines between the disciplines of art,

therapy, and politics, and the theatre itself speaks to the inseparability between

these disciplines when dealing with issues of change (Schutzman & Cohen-Cruz).

46
 Boal's ideas linked therapy, art, and politics with theatre; however,

therapy and drama were formally linked earlier in our history by Jacob L.

Moreno, the founder of psychodrama.

Psychodrama

As a young doctor in Vienna, Jacob L. Moreno directed a company known

as the Theatre of Spontaneity which eventually focused on the real-life stories of

his actors (Fox, 1986). Today Moreno is known primarily as the founder of

psychodrama, a form of therapy based on role playing (Fox, 1987). Moreno (1889

- 1974) is the originator of psychodrama and sociometry as well as a significant

pioneer in the field of group psychotherapy, social role theory, and applied

sociology (Blatner, 1999). Moreno was raised in Vienna and moved to the United

States in 1925. He began developing and proposing psychodrama in the 1930's as

a more holistic alternative to psychoanalysis. He addressed all aspects of living

and was profoundly concerned with our spiritual roots, our interdependence and

co-responsibility, and our need to find internal sources of creative replenishment

(Emunah, 1994). His stated philosophical position;

.. The objective of psychodrama was, from its inception, to construct a

therapeutic setting which uses life as a model, to integrate it all the
modalities of living, beginning with the universals - time, space, reality,
and cosmos - down to all the details and nuances of life. (Fox, 1987, p . 3)

Moreno defines psychodrama "as the science which explores the "truth"

by dramatic methods" (Moreno, 1946, p. 12). Dayton, in her description of

Moreno and psychodrama, indicated "psychodrama uses action and role play as a

means to study behavior in its concrete form" (Dayton, 2005, p. 3). Psychodrama

takes the metaphor of theatre to another level by acting and reenacting the lives of

group members in order to facilitate a catharsis within each client. In the

psychodrama, the director role is taken on by the therapist who carefully guides

the enactment while playing the role of mediator in instances when issues need to

be processed (Blatner, 1999). The protagonist is the group member acting as the

subject of the enactment. The protagonist chooses which group members will

portray other characters within the story, and can stop the others to provide

realistic feedback on how these characters truly reveal themselves within the

protagonist's life (Blatner). The auxiliary egos are assigned by the protagonist

and monitored by the director. The auxiliary egos may play other characters in

the protagonist's life, or may play other aspects of the protagonist's personality.

The remaining group members act as audience members who serve in the sharing

phase of the psychodrama (Blatner).

Psychodrama involves having clients enact specific scenes related to their life

problems instead of merely talking about them (Blatner, 1999). The assumption in

psychodrama is that individuals more intensely experience their affective states while

enacting their life stories in comparison to simply discussing their issues within any talk

therapy. Psychodrama could be termed an action method implied in the form of the

clinical therapy session. Group members are on their feet, reliving their experiences

rather than passively talking about their experiences as in talk therapy. The depiction and
exploration of life dramas via live enactment allows the externalization of an inner world

and enables the group members to witness their own and others dilemmas (Emunah,

1994). As described by Moreno, "Because we cannot reach into the mind and see what

the individual perceives and feels, psychodrama tries, with the cooperation of the patient,

to transfer the mind "outside" of the individual and objectify it within a tangible,

controllable universe.. Its aim is to make total behavior directly visible, observable, and

measurable" (Moreno & Moreno, 1969, p. xii)

An important element in psychodrama is that of spontaneity. Moreno's definition

of spontaneity is as follows: "The root of this word is the Latin sua sponte, meaning of

free will. Spontaneity is, "1) deviation from the "laws of' nature, 2) the matrix of

creativity, 3) the locus of the self' (Moreno, 1947, p. 127). Spontaneity enables one to

appropriately respond to a new situation, even though this new situation might remind the

person of a previous one. Thus, spontaneity becomes the catalyst for creativity and it

fuels the creative act at the present moment (Apter, 2003). Moreno felt that spontaneity

enabled the present moment which helped one to actualize the self (Apter). Moreno

believed that the people who were the most creative and spontaneous would survive at

the expense of those whose ideas remained fixed and rigid (Carnabucci, 2002). Using

both action methods and spontaneity within the therapy provided a unique sense of

awareness for the client.

In its classical format, psychodrama generally requires at least one hour to

complete (Blatner, 1999). The session includes a warm-up phase, an action phase, and a

sharing phase that also serves as closure (Blatner). In the warm-up phase, group
members' work together using activities that foster group cohesion and trust. For

example, the group may physically warm up by stretching and vocalizations, but may

also add in theatre games to establish camaraderie and trust while minimizing anxiety.

The protagonist and problem chosen in this phase should reflect the concerns relevant to

a significant number of the people in the group at the time (Blatner).

The action phase explores the issues presented by the protagonist through a series

of scenes. In the action phase the director carefully guides the interactions between

protagonist and auxiliary egos, as well as the flow of the enactment itself (Blatner, 1999).

The enactment of life dramas implies a type of reliving, through which both the

protagonist and groups members experience an emotional catharsis. Moreno traces the

catharsis for the group to the Aristotelian concept of catharsis, in which the spectator is

emotionally purged by witnessing the tragedy (Emunah, 1994). Although psychodrama

has often been characterized as a cathartic process, its aim is not simply the expression of

the emotion itself, but the deeper dynamic of integration of dissociated elements within

the psyche that releases those emotions (Blatner).

The sharing phase occurs after all aspects of the enactment are finished. This is

the time where the protagonist, auxiliary egos, and audience can process the scenes and

share their individual experiences. This is not a time for group members to make

interpretations, but rather a time to speak about the own lives and situations (Blatner,

1999). Playing out more satisfactory responses to situations offers a psychological

experience of completion, or closure, as termed in Gestalt psychology (Blatner).

50
 Different tools and techniques are used throughout the psychodrama. Many of

these tools are applied today in other therapies. The most recognized tool is role-reversal.

In role-reversal, the participants in the scene switch roles. In doing so, they physically

change positions with the other character and assume the position, posture, and attitude as

closely as possible (Emunah, 1999). Role-reversal is used to facilitate understanding of

the other's perspective or point of view. It is also used by the protagonist to demonstrate

how a role should be played. Finally, it is used to increase role repertoire to enhance the

future group therapy dynamics (Emunah).

Another technique used is doubling. In doubling, another group member joins the

protagonist on stage and voices out loud what the protagonist may be thinking or feeling

but not expressing verbally. Doubling is used to provide support and encouragement, to

help the protagonist become aware of suppressed feelings or thoughts, to heighten or

sustain the protagonist's emotional engagement or affect, and to enable others in the

group who identify with the protagonist to become an active part of the scene (Emunah,

1994).

Another tool within psychodrama is magic shop. When applying the magic shop

to the psychodrama, the group is invited to come, one at a time, to a magic shop in which

they can purchase human qualities. The shopkeeper is usually the therapist who attempts

to engage each individual on reasons they chose the specific quality. The shopkeeper

then negotiates with each individual on what quality they will give in return. Then, in

following scenes, the group can observe whether or not the quality purchased was used in

the scene.
51
 Many other techniques and tools used within psychodrama and now are being

incorporated into other therapies. Others mentioned but not described are; replay, the

empty chair, the mirror, the soliloquy, as well as many others (Blatner, 1999). Tools

from sociometry, another clinical theory established by Moreno, can also be incorporated

into psychodrama. One of the most commonly recognized from sociometry is called

family sculpture. In this technique, the protagonist creates his or her social network as if

it were a sculpture of people standing in various positions and distances from each other

- as a kind of living diorama (Blatner). This positioning often vividly expresses the

protagonist's perception of relationships.

Moreno was very interested in social atom theory. Moreno describes the social

universe where each social atom (a person's emotion connections, whether real or wished

for by either party) is linked to other atoms (Apter, 2003). This social atom theory seems

to incorporate aspects of object relations theories. In reference to actualization, Moreno

thought that every human being chooses the best or least detrimental position for oneself

at any point in time. Similar to what Rogers and Maslow discuss in their later

Humanistic theories, Moreno believes there is an innate tendency to grow and develop

that exists within human beings (Apter).

Also mentioned above, Moreno developed the theory of sociometry. Sociometry

is a method of surveying and then portraying, in diagrammatic form or in action, the

interpersonal preferences among the various people in a social system (Blatner, 1999). It

can be used as an aid in clarifying group dynamics. Moreno also coined the term 'group

therapy' (Blatner). Moreno conceptualized roles as having both collective and private
52
components. Sociodrama revolves around the collective components and psychodrama

revolves around the private components, those which are unique to the individual

(Emunah, 1994). Therefore, although psychodrama takes place in a group setting, it is

more of an individual type therapy as it is focused upon the individual.

Developed in the late 1930s, psychodrama is one of the oldest psychotherapies

about which many journal articles have been published on its use and value (Blatner,

1999). However, research on psychodramatic effects or benefits is limited as it is

difficult to assess any psychotherapy that does not follow a predictable path. Aspects of

psychodrama are also incorporated into other therapies; therefore, it is difficult to assess

its benefits individually from the other therapy.

Moreno's trust in the innate potential of human beings induced his hostile view of

psychoanalysis in which he perceived to be negativistic and excluding of all action

(Apter, 2003). He believed that human beings have the urge to act and interact and,

further, that action is part of the human condition. There are many similarities and

differences in looking at Freud's psychoanalysis and Moreno's psychodrama. Both

arrived to the United States from Vienna, Moreno a little later than Freud. Although

Moreno's theory seemed to accept the inner psychic desires commonly discussed in

Freud's psychoanalysis, in psychodrama, Moreno endeavored to bring these desires to

life and begin the interaction. In contrast, Freud's psychoanalysis relied on discussion of

inner desires relating back to an individual's childhood. Psychodrama incorporated the

language (i.e., ego) of Freud's theory as well as the instinctual desires, yet was action-

53
oriented and hopeful in its presentation. Moreno's theory seemed a precursor to later

psychodynamic and humanistic-existential theories.

Today, psychodrama is used in psychodrama practices as well as incorporated

into other orientation's therapies. Role-play and reversal are especially popular in

adapting these techniques into other therapies. As mentioned above, psychodrama is

utilized in discussing psychodynamic theories. Moreno's intuition of the need for three

levels of staging can be compared to Freud's id, ego, and superego, as well as to Jung's

ego, personal unconscious, and collective unconscious (Conforti, 2002). Images and

associations within the psychodrama can be compared to the archetypes in Jungian

psychology. Psychodrama is also, but perhaps less frequently, used for role training as a

means to practice new ways of thinking and behaving (Treadwell & Kumar, 2002). For

example, cognitive-behavioral therapy incorporates a cognitive double technique in

which the function of the double is to provide supportive, positive perceptions while

identifying mental distortions and aiding in the process of reframing these patterns of

thinking (Treadwell & Kumar).

Overall, psychodrama involves a complex array of methods and ideas that offer

a valuable theoretical and practical contribution to psychotherapy, education, community

building, spiritual development, personal growth, conflict resolution, social action, and

other consciousness-enhancing endeavors (Blatner, 1999). It is a unique and impacting

form of clinical psychology in its classic form as well as a benefit to many other modern

therapies.

54
 It should be noted that as a person, Jacob L. Moreno was a "problem personality"

(Fox, 1987, p. xix). He had an inability to separate himself from his creations, and was

considered a megalomaniac (Fox, 1987). His personality may have interfered with an

overall acceptance of his theories and psychotherapies.

Psychodrama is one method that blends the use of therapy and drama. Drama

therapy incorporates psychodrama in its practice, but also utilizes many other aspects of

drama as therapeutic technique.

Drama Therapy

Jones (1996) discussed drama therapy as the involvement in drama with a healing

intention. He indicated the first notion of drama therapy occurred in Peter Slade's lecture

to the British Medical Association in 1939 (Jones). In the United States, the earliest

recorded use of the term drama therapy was in 1946 in a paper by Florsheim entitled

"Drama Therapy" (Jones). Jennings (1987) indicated the current practice of drama

therapy began in Great Britain in the early 1960s. The National Association for Drama

Therapy was founded in the United States in 1979 (Emunah, 1994).

Although the term drama therapy, or dramatherapy as is utilized in the United

Kingdom, was first mentioned in the 20th century, its roots span as far back as the

emergence of drama and theatre. Pioneers of the use of drama in therapy were Iljine,

Evreinov, and Moreno (Jones, 1996). Evreinov developed Theatrotherapy which focused

on the internal and psychological processes of acting (Jones). In the Soviet Union, Iljine
55
developed the Therapeutic Theatre which incorporated improvisation, theme

identification, reflection on themes, scenario design, scenario realization, and feedback in

working with groups or individuals (Jones). Moreno and psychodrama were discussed

above.

David Read Johnson suggested that Moreno was most influential in the

development of drama therapy because he communicated his ideas to others, while there

was no transmission of ideas from the others mentioned above. Johnson specifically

noted Moreno's work in the United States at St. Elizabeth's Hospital with Marion Chace

as his protege (Lewis & Johnson, 2000). He influenced her as a dance therapist. She

blended dance therapy with drama therapy in her work with patients at St. Elizabeth's

Hospital after he left the hospital.

Renee Emunah (1994) defined drama therapy as "the intentional and systematic

use of drama/theatre processes to achieve psychological growth and change" (Emunah, p.

3). She indicated five sources as the origins of drama therapy; theatre, psychodrama,

dramatic play, dramatic ritual, and role play (Emunah). She noted psychodrama as the

immediate predecessor of drama therapy.

Drama therapy differed from psychodrama in that it was group oriented rather

than individually oriented as is psychodrama (Emunah, 1994). Like psychodrama, drama

therapy incorporated the use of role play, reenactment, and improvisation, but drama

therapy also included the use of theatre games, storytelling, puppetry, mask work,

pantomime, and scripted scenes (Emunah). Drama therapy developed from the art form

of drama, and did not have a single founder (Emunah).

 As the sources for drama therapy of theatre, psychodrama, and role play have

been previously discussed, a look at dramatic play and dramatic ritual as a source for

drama therapy is necessary. Erikson stated, "To play it out is the most natural self-healing

measure childhood affords" (Erikson, 1993, p. 222). Winnicott indicated that playing is

one of the only methods for a child or an adult to be creative (Winnicott, 1971). Dramatic

play is the child's method of:

Symbolically expressing and resolving internal conflict; assimilating reality;

achieving a sense of mastery and control; releasing pent-up emotions; learning to
control potentially destructive impulses through fantasy; expressing unaccepted
parts of the self; exploring problems and discovering solutions; practicing for
real-life events; expressing hopes and wishes; experimenting with new roles and
situations; and developing a sense of identity. (Courtney, 1989 as cited in
Emunah, 1994, p. 4)

In early societies, drama and healing were inseparable in dramatic rites and rituals

(Emunah, 1994). "In ritual dramas led by shamans (from prehistoric times to

contemporary non-Western cultures), the internal and often unconscious struggles of the

individual or the community are symbolically represented, helping participants and

observers to release emotion and achieve catharsis" (Emunah, p. 21). The dramatic ritual

within drama therapy creates a structure in which the period of transition can be

contained and the transformative journey can take place (Emunah).

Distancing was a key term related to drama therapy. Distancing was defined as

"an interaction or intrapsychic phenomenon characterized by a range of closeness and

separation" (Landy, 1986, p. 100). The key was to find balance between the

overdistancing experienced in Brecht with the underdistancing experienced in method

acting (Landy). When balanced, there were clear delineations between the self and other,
one role and another role, yet the boundaries were flexible to change when the interaction

shifts (Landy). This point of balance was termed aesthetic distance, a place where

catharsis can occur (Landy). When used in drama therapy, distancing can be influential.

To be and to watch ourselves at once, to live a new reality and the existing one at
once, to relinquish and penetrate ourselves at once... such are some of the
paradoxes that make this form of art and therapy so powerful. (Emunah, 1994, p.
xvi)

Robert Landy, a professor of drama therapy and a drama therapist, noted drama

therapy is about learning, renewing, re-creating, while incorporating the goals of artists,

psychologists, and sociologists (Landy, 1986). He described drama as a metaphor that

can clarify meaning for a client. His work focused on a construct he created termed the

Taxonomy of Roles (Emunah, 1994; Landy, 2001; Landy, 2005). He created Taxonomy

of Roles in attempt to clarify the contents of the role system, roles that make up the

human personality (Landy, 2001). He utilized this role system in assessment and working

with clients. He also stressed the importance of a guide in drama therapy who, as the

instructor or drama therapist, provides a secure holding environment for the student or

client (Landy, 2005).

In Acting For Real, Emunah (1994) discussed five phases of long-term drama

therapy in relation to the five sources of drama therapy discussed earlier. These phases

are. "I. Dramatic Play; II. Scenework; III. Role Play; IV. Culminating Enactment; V.

Dramatic Ritual" (Emunah, p. 34). These five phases should be considered fluid and

follow the needs of the clients.

58
 The work of David Read Johnson was linked to dramatic play. He started

developmental transformations, a drama therapy approach utilizing the components of

embodiment, encounter, and playspace (Lewis & Johnson, 2000). He worked with

personal play, defined by Peter Slade as "a physically active utilization of one's own

self/body, in the taking on of roles" (Emunah, 1994, p. 6). Transformations was based in

emanation theory, in which the world is understood as flowing out from the Source of

existence (Lewis & Johnson, 2000, p. 88). Important aspects of the approach were as

follows.

(1) the sessions consist entirely of dramatic, improvisation interaction between the
therapist and client(s)
(2) the therapist is an active participant in the play and intervenes through his/her
own immersion in the client's playspace
(3) the process of play is used to loosen or remove (i.e., deconstruct) psychic
structures that inhibit the client(s) from accessing primary experiences of Being
(4) the client's progress in treatment is believed to follow natural, developmental
processes that in themselves will lead to greater emotional health. (Lewis &
Johnson, p. 87)

Eleanor Irwin was another prominent drama therapist. She worked from a

psychoanalytic viewpoint and draws on play therapy as a tool in her work (Emunah,

1994). Like Landy, her work was similar to a distancing model (Emunah). She utilized

projected play, another term from Peter Slade, which "involves projecting an imagined

dramatic situation outwards onto objects (e.g. dolls, puppets)" (Emunah, p. 6). Irwin

defined the goal of drama therapy "is to make changes in personality, which implies

dealing with unconscious aspects of functions; while the aims of creative drama are

education and aesthetic" (Lewis & Johnson, 2000).

59
 Phil Jones discussed drama therapy in terms of nine core processes. He defined

these core processes as. "dramatic projection, therapeutic performance process,

dramatherapeutic empathy and distancing, personification and impersonation, interactive

audience and witnessing, embodiment: dramatizing the body, playing, life-drama

connection, and transformation" (Jones, 1996, pp. 99-100). He indicated that these

processes display the inherent healing within the art form of drama (Jones).

Emunah discussed a myriad of techniques accessible in drama therapy. Many of

these techniques are similar or the same as used in psychodrama. Others are taken from

theatre games, storytelling, puppetry, mime work, and scripted scenes (Emunah, 1994).

She categorized techniques into experiences facilitated from each technique. The

experiences headings are as follows.

1. Beginning of the Session and Series: Emotional Expression, Group Interaction,

Physical Activation, Trust, Observation and Concentration
2. Mid-Session and Mid-Series: Expression and Communication, Character and
Role Development, Group Collaboration, Self-Revelation
3. Closure of Session and Series: Giving and Receiving, Collective Creativity,
Intergroup Perceptions, Review and Celebration. (Emunah, p. 141)

Therapeutic theatre is another aspect of drama therapy. Snow defined therapeutic

theatre as

The therapeutic development of a play in which the roles are established with
therapeutic goals in mind; the whole process of the play production is, in fact, a
form of group psychotherapy; it is all facilitated by a therapist skilled in drama or
a drama therapist; and, finally, the play must be performed for a public
audience... beyond the social sphere of the therapeutic group, itself... (and) that
there be post-production processing by the group to deal with all the issues that
have been provoked and evoked by the performance experience. (Snow,
D'Amico, & Tanguay, 2003, p. 74)

60
Snow et al. (2003) qualitatively evaluated the therapeutic theatre experience of clients at

the Centre for the Arts in Human Development, and found that their therapeutic goals

from the production experience were accomplished. The therapeutic goals included:

- reduced sense of somatization and improvement of self-image

- increased socialization
- enhanced communication and interpersonal skills
- improved self-confidence
- more spontaneity and freedom of expression
- increased sense of responsibility and maturity
- a sense of accomplishment

- an expanded, more positive sense of self. (Snow et al., p. 81)

Daniel Wiener, drama therapist and founder of Rehearsals! for Growth (RfG)

(Wiener, 1994), utilized an improvisation technique specifically aimed at

psychotherapists based on the work of Keith Johnstone (Wiener). Besides the benefit to

clients, Wiener used RfG in training psychotherapists to strengthen creativity and

spontaneity. He indicated several benefits of using RfG in the training of therapists. He

stressed the need to understand the discomfort that clients experience while role-playing,

improvising, or within the therapy itself (Wiener). RfG could lessen the judgment of the

therapist if he or she has participated in this type of experience as well (Wiener). He

indicated that clinical situations are improvisatory and thus can benefit from a clinician

trained with improvisation techniques (Wiener). He also discussed the therapist's

potential need to enter into role-playing and modeling with the client, skills that could be

strengthened by learning RfG (Wiener). He summarized the benefits by indicating that

RfG improv is not merely a therapeutic technique applied to clients, but a means
by which the therapist opens to her or his own courage, resourcefulness, and
creativity. In addition to contributing to the therapist's capacity to use improv
exercises with clients, improvising heightens the therapist' involvement in the
 present moment, increases tolerance for both ambiguity and risk of the unknown,
and stimulates metaphorical connections, particularly nonverbal ones. (Wiener, p.
225)

The field of drama therapy clarified the need to train therapists through the use of

dramatic enactment. Landy (2005) described a method of teaching in which the students

were asked to actively listen and respond to an actors monologue through movement and

words instead of reacting to the actor as a therapist, allowing the student to relinquish the

anxiety of focusing on the self. Because the student therapist did not have to worry about

what their response should be, the student was able to be in the moment and empathize

with the actor.

Emunah (1989) indicated that the use of drama in training can help people

practice or prepare for real-life situations. She indicated that the world of make-believe

is a safe place in which a therapist in training can deal with anxieties and develop

confidence. Drama is a means of comprehending the psychological makeup of people

who may become clients, and of experiencing first-hand the impact drama therapy

processes have on them (Emunah). Further, she indicated

I do not believe that we must have lived through what our clients have; we need
not have been psychotic or alcoholic or abused to help such a client.
Nevertheless, to come closer to the skill of the shaman, we do need to understand
those we work with as deeply and empathically as possible. This kind of
understanding can occur through becoming the other, for awhile, through
dramatic enactment. (Emunah, p. 35)

Emunah stated that therapy, while considered science is also an art, and the art of

psychotherapy may be best expressed via artistic process.

62
 Further, Emunah (1989) discussed the boundaries between the self and the other

in the training of psychotherapists. Referring to the teachings of Stanislavski and others,

she indicated that actors need to find themselves within each role, but must have a strong

sense of self to return to after the dramatic work is complete. Similarly, in

psychotherapy, the therapist identifies and empathizes with the client, but must maintain

a sense of self within the relationship to sustain boundaries.

Drama in Education

"Drama in education refers to the use of drama techniques to support learning in

the classroom" (Anderson, 2004, p. 282). Dramatic education was aesthetic, learning

through art and play (Landy, 1986). Landy described the goals for drama in education as:

"1. learning about drama, 2. learning about learning, and, 3. learning about thinking and

speaking" (Landy, p. 11). He also indicated that learning through drama may be internal

and non-observable, a problem to researchers who want to specify internal processes

behaviorally. Drama in education is often process oriented. The participant is usually

involved in improvisation within a classroom context (Anderson, 2004). There is less of a

distinction between audience and actor, as compared to drama seen in the theatre

(Anderson). The participant is both in the role-play as well as an observer of the drama

(Anderson).

Dorothy Heathcote was a well-known educator who utilized drama in her

teaching. When she arrived in America in the 1970s, she surprised teachers by

"consciously employing the elements of drama to educate - literally to bring out what
63
children already know but do not yet know that they know" (Wagner, 1999, p. 1). Her

work with children focused on the quality of the education, rather than always focusing

on the quantity (Wagner). She allowed for creation and education, rather than directing it

out of her students (Wagner).

Drama in education remained removed from the practice of psychology

(Anderson, 2004). However, there was significant research demonstrating the benefits of

drama in an educational setting and its link to psychology (Anderson; Courtney, 1989).

Anderson noted the benefits of drama to foster metacognition. After participating in a

role-play, one can step outside and analyze what was enacted (Anderson). Courtney tied

drama in education to imagination that is inherent in development and learning.

Anderson (2004) discussed situated learning as learning in an authentic context.

He indicated,

The methods of drama in education have the potential to create as-if worlds
within the classroom that can foster situated learning. Drama frames can be
constructed with essential elements of authentic contexts, thereby bringing the
laboratory (or studio, archeological dig, etc.) to the classroom. (Anderson, p. 284)

Experiential Action Methods of Improvisation and Playback Theatre

The training program will incorporate theories of creativity, improvisation, and

playback theatre. Creativity will be discussed related to acting and therapy, and the

creative connection between them. May identified a process of creativity starting with an

encounter between a person and the world, the engagement of the person in this

encounter, and finally the absorption, in which the person is wholly involved with this
engagement (May, 1975). Using one's creative imagination, the student can enter into the

world of another character, or empathize with a client.

Spolin (1963) described improvisation as an art form and a transformation. Spolin

developed her ideas about improvisation from her work with Neva L. Boyd at the

Chicago Hull House (Spolin). According to Spolin, improvisation allows for spontaneity;

a time of discovery, of creative expression, and of experiencing. In her book

Improvisation for the Theatre, Spolin described methods to encourage creativity and

spontaneity within an individual, as well as specific games and techniques to foster

improvisational skill. She wanted people to experience physically, mentally, and

intuitively (Spolin). She valued intuition, a skill available to all but one that is often

neglected. She further negated the notion of talent related to improvisation or acting in

general.

We learn through experience and experiencing, and no one teaches anyone

anything. This is true for the infant moving from kicking to crawling to walking
as it is for the scientist and his equations. (Spolin, p. 3)

From Spolin's perspective, improvisation is not about performance and result, but about

the process and experience of playing (Spolin).

Spolin described seven aspects of spontaneity to foster improvisation (Spolin,

1963). The first is to simply play a game to encourage feelings of personal freedom. Most

games have an obstacle or problem that needs solving, and the players in the

improvisation work together to solve the problem spontaneously. The players are

encouraged to say_yes to their partners in order to further encourage personal freedom and

facilitate the action of the scene. The second aspect of spontaneity is letting go of
65
approval/disapproval (Spolin). Spolin suggested we must work on acceptance of the self

in order to let go of the need for approval. The approval or opinion of others is not

necessary or helpful to working in the moment. The third aspect is working toward

healthy group expression (Spolin). Recognizing basic human interdependence and

focusing on aiding others in the group allows for the minimization of competition and

comparisons between group members. The fourth aspect is involving the audience in the

improvisation (Spolin). Sharing the improvisational experience with the audience lessens

the need for performance and fosters more spontaneity in the moment. The fifth aspect of

spontaneity comes from practicing various theatre techniques through theatre games

(Spolin). These techniques should not be viewed as tricks to use when a scene is not

working, but as methods of communication that the player is deeply aware of to foster

various ways of being or functioning within a scene or game. The sixth aspect is carrying

this learning process into everyday life (Spolin). In education and training this might be

referred to as a transfer of learning (Forsyth, 2003). "The world provides material for the

theater, and artistic growth develops hand in hand with one's recognition of it and

himself within it" (Spolin, p. 15). The final aspect Spolin discussed is physicalization

(Spolin). She indicated that "physical and sensory relationship with the art form opens the

door for insight" (Spolin, p. 15). Physicalization gives a concrete experience to feelings

and ideas.

There are several workshop procedures or rules associated to Spolin's way of

imparting improvisation skills to group members. One is to focus upon problem solving

(Spolin, 1963). Another relates to the point of concentration (Spolin). The point of
66
concentration is the focal point for group members while solving the problem. In other

acting terms, it could be related to an actor's motivation or intention. In the improvisation

group format, "it is the ball with which all play the game" (Spolin, p. 2). After a team

has finished working on an acting problem, Spolin suggests that non-judgmental

evaluation should take place between group members, audience members, and the

teacher-director (Spolin). Other workshop procedures include but are not limited to side

coaching, presenting the problem, preparation for the acting problem, timing, and labels

and/or concepts (Spolin).

In her book, Spolin describes many improvisation exercises that can be used in

the training of improvisation players. She describes each exercise in a workshop

sequence. The progression of this sequence is as follows: orientation, where, acting with

the whole body, non-directional blocking, refining awareness, speech effects, developing

material for situations, rounding-out exercises, emotion, and character (Spolin, 1963).

Spolin used the word player in place of the words actor, non-actor, or character. She

indicated the term player as more preferable for several reasons. First, it implied

spontaneity. Second, it de-emphasized acting or the craft of acting. Third, it connoted that

one is playing rather than acting or performing.

Many schools of improvisation and books about improvisation have been created

after Spolin's initial work in 1963. One book that will be utilized in this training program

is by Mick Napier, an improviser and director in Chicago, Illinois. Napier wrote,

"Improvisation is getting on stage and making stuff up as you go along" (Napier, 2004, p.

67
1) . He emphasizes giving up many of the rules that have been developed from Spolin and

other methods. He stated these rules as follows:

1. Don't deny.
2. Don't ask questions.
3. Don't dictate action.
4. Don't talk about past or future events.
5. Establish who, what, and where.
6. Don't negotiate
7. Don't do teaching scenes.
8. Show, don't tell.
9. Say yes, and then say and.
10. Don't talk about what you are doing.

(Napier, p. 3)

Napier believes rules developed within improvisation can be destructive (Napier, 2004).

In all likelihood, these rules can become destructive because, without the facilitated

procedures set up in Spolin's technique, these rules can create the notion of

approval/disapproval within a scene and may lead to less spontaneity in the work.

Napier's text, including further rules and exercises, emphasizes the need for acceptance

and action within an improvisation scene.

The third major aspect of the training program is playback theatre. Playback

theatre, founded in 1975 by Jonathan Fox, Jo Salas, and other original playback members

in the Mid-Hudson Valley in New York (Fox, 2007; Fox, 2008a; Weinstock-Wynters,

1997), is a "form of theatrical improvisation in which people tell real events from their

lives, then watch them enacted on the spot" (Ford & Ward-Wimmer, 2001, p. 390). It

follows the oral tradition of non-scripted theatre (Fox, 1986) and was inspired by the

American experimental theatre movement and psychodrama (Fox, 2007).

68
 "In contrast to psychodrama, playback theatre does not position itself in the

therapeutic domain, even though it is grounded in the concept of constructive change"

(Fox, 2008b). Often compared to Boal's Theatre of the Oppressed, playback differs in

that it does not make assumptions about the audience and their particular oppression, and

it does not seek to find a solution to a particular oppression (Fox, 2008b). The root of the

form is storytelling, and these stories told provoke a spontaneous performance "whose

intention was to illuminate life experiences - rather than camouflage or distort them - by

honoring whatever narratives arose in the moment" (Fox, 2007, p. 92). Playback stories

"become the vehicle for deep dialogue that does not demand an answer" (Fox, 2008b).

The frame, or ritual, of playback theatre is as follows (Fox, 2008a). A group of

people set up in a room, a hall, a theatre, or any space. The audience faces a row of actors

sitting on boxes. On one side of the stage sits a musician with instruments, on the other

side sits a conductor, or emcee, next to an empty chair. The chair is reserved for the

teller, who comes from the audience to share a personal story. "Then, in ritualized

process, using mime, music, and spoken scenes, the players will act out a story. After one

teller, another will come. In this way, the individuals in the audience will witness a

theatre of their own stories" (Fox, 2008a, p. 3).

Three primary forms make up the basic structure of playback theatre; fluid

sculptures, pairs, and scenes that tell a story (Weinstock-Wynters, 1997). Fluid sculptures

are similar to a tableau or stage picture, however, a fluid sculpture contains sound and

movement that brings "breath, action, and movement into the feeling or experience that is

being acknowledged" (Weinstock-Wynters, p. 32). Fluid sculptures are one way to

69
"transform a feeling or idea into action" (Weinstock-Wynters, p. 33). The form of pairs is

utilized to allow the teller to relate two conflicting feelings within a stoiy, and then to see

and experience these feelings both visually and kinesthetically enacted by the performers

(Weinstock-Wynters).

Both fluid sculptures and pairs are forms that encourage and develop
communication, sensitivity, respectful contact and a deep engaged listening. They
provide an opportunity to listen actively to another person and give back to
her/him what you experience as the essence of their telling.. .This work develops
self trust, self initiation, motivation and skills involving a willingness to risk one's
creative, intellectual and intuitive process. (Weinstock-Wynters, p. 34)

The third element of playback theatre is the story, the frame for which is described above.

Working with the elements from fluid sculptures and pairs, the story is the "heart of

playback" (Salas, 1996, as cited in Weinstock-Wynters, p. 35), and "is when the actors

begin to work with the development of themselves, space, music, ritual and contact to

play back a story or a moment that is being told by the teller to the conductor"

(Weinstock-Wynters, p. 35).

Similar to improvisation, Fox (1986) noted the emphasis of spontaneity and

suggested the signs of spontaneity as vitality, appropriateness, intuitiveness, readiness for

change. Spontaneity involves action and non-thinking, but also necessitates structure and

freedom (Fox). Fox described playback theatre as an improvisational, healing theatre that

can be a powerful force for social transformation. In living the personal story on stage,

actors and audience members learn something about themselves in a different, active

way.

70
 Playback theatre was selected to be utilized as an active learning method in this

program because it teaches active listening, empathy, self-awareness, and creativity.

Discussing group process, Weinstock-Wynters (1997) indicated that "Engaging in each

other's stories and moments from our lives requires an attentive listening to one another's

experience" (p. 36). Jonathan Fox stated, "Playback Theatre demands deep listening from

actors and empathy with anyone's story. It builds empathy in audience members" (Fox,

2007, p. 93). Regarding self-awareness and empathy, Weinstock-Wynters indicated,

"This approach encourages each person to stay connected with herself while still being

connected with other members of the sculpture or scene. One of the challenging aspects

of this form is that it requires a simultaneous attention to self and others" (p. 37). Fox

expands the idea of self-awareness from an individual level to a societal level by stating,

"Our narrative about ourselves and our society is key to our identity. It takes critical

consciousness even to have something to tell; Friere showed us that. Then seeing it

embodied onstage can crystallize a sense of self that is very empowering" (Fox, 2007, p.

93).

Spolin expressed that "the heart of improvisation is transformation" (Spolin,

1963, p. 38). It should be noted that Spolin, Fox, and Boal discussed theatre and

improvisation using the term transformation. Transformation is highlighted as this is a

goal for therapists in their own growth as well as a goal for therapists in working with

their clients. Utilizing improvisation and playback theatre as action methods fosters this

transformation and learning in students. Games from Boal's Games for Actors and Non-

Actors will also be utilized within this training program.

 Improvisation and playback theatre were chosen as active learning methods in this

program to facilitate the growth of empathic listening, self-awareness, and creativity in

psychology students. These methods were chosen specifically as they are grounded in the

art form of drama, rather than moving into the more therapeutic realm of psychodrama

and drama therapy, or the more political realm of Boal's Theatre of the Oppressed.

However, even within the art form of drama, dramatic action methods utilized in learning

can create the emergence of therapeutic issues. Perhaps this is why educators tend to shy

away from utilizing action methods in their teaching. Educators seem to fear the

emergence of therapeutic issues in the classroom (Weinstock-Wynters, 1997), even

classrooms teaching psychology students. However, in removing action methods,

teachers promote only traditional learning as purely rational, linear, and logical

(Weinstock-Wynters). By incorporating action methods such as improvisation and

playback theatre, educators can pass on and construct meaning through multiple

intelligences. Weintock-Wynters (p. 40) indicated the benefits of teaching action methods

as follows.

First, the action methods allow increased attention and awareness to develop in a
way that verbal dialogue does not. When one has to be a concept and show what it
looks like, there is a shift from habitual ways of knowing and creativity enters
into the thinking process. What would racism sound like musically? What color
might it be? What physical form or shape would it take? Each of these questions
draws on different intelligences, thus expanding our traditional notion of thinking
as purely rational, linear, and logical. Second, the action methods allow students
to engage in dialogue that is not constricted by fears of being right and wrong.

Using creativity in improvisation and playback theatre, the students will have the

opportunity to depict different roles; persons with whom they can empathize with and
72
identify parts within themselves. Much of our training is devoted to the science of

psychology. Some time needs to be allowed for the art of psychology, especially training

for the time spent in session with a client. This acting program will not attempt to teach

therapy students to be great actors, nor will it teach specific psychological methods. It

will land somewhere in between, in the art of psychology.

73
 CHAPTER 3: THEORETICAL FRAMEWORK

Theoretical Framework

The proposed program aspires to strengthen helping skills for psychology students

in training. In recent years, psychology training programs have glossed over skills in

training such as empathic listening, self-awareness, and creativity within the therapeutic

relationship. It is assumed by programs that these skills are either innate, or will be

acquired in practicum, internship, and supervision. There is less of a focus on training for

these skills in pre-practicum courses, and the training that does focus on these skills is

primarily didactic. Thus, psychology students are entering into practicum situations with

lower self-efficacy and heightened anxiety related to their counseling abilities (Larson &

Daniels, 1998).

As students are entering into psychology programs less prepared than in the past

(Krishnamurthy et al., 2004), the need for these skills in training becomes even more

important. Larson and Daniels (1998) indicated self-efficacy could be increased by role-

play and modeling. Methods such as role-play, modeling, instruction, and feedback could

also be used to improve the trainee's empathic ability and communication skills (Baker et

al., 1990; Hill & Lent., 2006; Ivey et al., 1968; Truax et al., 1964). Self-awareness can be

facilitated through one's own therapy, supervision, and ability to remain open to

experiences (Irwin, 1986; Hulnick, 1977; Spruill et al., 2004). Finally, creativity is

described as necessary to the therapeutic relationship (Bieschke et al., 2004), and can be

facilitated through encounter, engagement, and absorption (May, 1975).

74
 A training program utilizing drama and improvisation will help strengthen

empathic listening, self-awareness, and creativity in psychology students by increasing

here-and-now engagement and active listening of students as they continue to develop

and work with others. This program will also aid in the student's examination of the self

and creativity through their work with characters and improvisation. The students will

work with creativity, improvisation, and playback theatre in order to empathize with

others, heighten listening skills, and learn more about the self in the creative process.

75
 CHAPTER 4: METHODS

Goal

The overall goal of the proposed program is to strengthen helping skills in

graduate psychology students in order to increase self-efficacy and lower anxiety related

to counseling abilities and the therapeutic relationship. The program will foster skills

such as empathic listening, self-awareness, and creativity in the psychology student in

many ways. First, improvisation theories and techniques will be utilized to strengthen

listening skills, communication, and an understanding of the self. Second, improvisation

and playback theatre will be used to foster empathic understanding of another character,

as well as the self-awareness that comes from learning how parts of oneself can relate to

that character. Third, the dramatic enactment in improvisation and playback theatre will

foster creativity within the student and an understanding of how each of these skills

overlaps in drama as well as in therapy.

Objectives/Anticipated Outcomes

As mentioned above, the overall objective of this program is to strengthen helping

skills, self-awareness, and creativity in graduate psychology students. There are both

short-term and long-term objectives in the proposed program. The short-term objective of

this program is to lessen the anxiety that a student experiences entering into practicum

and real-life therapy situations. Another short-term objective is to increase the student's

self-efficacy and confidence related to his or her therapeutic abilities.

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 The long term goal of this program is to increase here-and-now engagement and

active listening of students as they continue to develop and work with others. The ability

to foster an empathic connection with others utilizing dramatic and improvisational

techniques will encourage life-long self-awareness and connection to creativity as a

therapist. These conditions will impact further training and future clinical work. A by-

product of empathic engagement, active listening, self-awareness, and creativity is

increased authenticity in the role-play experiences throughout training. Dramatic

enactment will foster empathy and increased connection to enacting client roles, thus

promoting more authentic role-plays in future training. Authentic role-plays will

engender deeper understanding of client/therapist scenarios.

Target Population

The target population of this program includes doctoral psychology students in

their first year of training. This group was chosen as these students have yet to enter into

their first doctoral practicum experience. As these students are likely participating in

courses teaching helping skills through didactic methods, this course will run

simultaneously and serve as an elective for students who want or need experiential

techniques to increase their abilities in these areas. This program will prepare students for

practicum and further role-play experiences throughout training.

It should be noted that the students will vary in their level of ability in these areas

depending on age and experience level. Some students will have entered into the doctoral

program after completing a Masters level program in counseling or psychology. These

77
students will likely have completed a Masters Practicum experience, and may feel more

comfortable with their empathic listening abilities, thus their self efficacy may be higher

and their anxiety lower related to their therapeutic abilities. Other students will enter

directly from undergraduate education, having no previous experience relating to any of

these skills. Age may also be a factor related to these skills as it is assumed that self-

awareness increases with age, however, this may not be the case in all students.

Identify Stakeholders

Given the research supporting the need for training in empathy, communication

skills, self-awareness, and creativity in the literature from the NCSPP's Core

Competencies Conference (Bieschke et al., 2004; Spruill et al., 2004), a potential

stakeholder in the proposed program will likely include professional psychology

institutions and programs. As these skills are deemed as important to work as clinical

psychologists, a professional psychology program in search for methods to improve these

skills could offer this course as an elective for incoming students. This program could

also be combined with other courses, facilitating a more complete educational experience

for the student with both didactic and experiential aspects.

Another viable stakeholder could be doctoral psychology students. This course

could be offered as a workshop for interested students to aid in their educational

experience. Students experiencing high anxiety or simply seeking methods to improve

their therapeutic skills may take a workshop for a small fee.

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 This program will be valuable to the above mentioned groups for many reasons.

At the program or institutional level, improving student's therapeutic skills will improve

the quality of the program. A program that provides better skills to students will be

evaluated more favorably by both practicum and internship settings, as well as by the

community at large. This will improve perception surrounding the institution which could

aid alumni practicing in the field. The student will benefit by improving their empathic

listening skills, self-awareness, and creativity through improvisation. The student could

also become more competitive for practicum and internship with the higher self-efficacy

and lower anxiety this program will facilitate. Finally, this program will improve the arts

viability in graduate education.

Content of Program

The proposed program utilizes an experiential approach in the training of

psychologists. As mentioned in previous sections, experiential training is a beneficial

method in training graduate students (Kaslow et al., 2004; Peterson et al., 1997; Spruill et

al., 2004). The program intends to strengthen skills associated to the rapport between

client and therapist within the therapeutic relationship. Skills such as empathic listening,

self-awareness, and creativity can benefit the student psychologist in future practicum,

internship, and work settings. As these skills are assumed to be innate, programs have

deemphasized training in this area. However, research suggests that students are entering

graduate programs less prepared than in the past (Krishnamurthy et al., 2004), and have

79
low self-efficacy and high anxiety related to their therapeutic abilities (Larson & Daniels,

1998).

The program will utilize drama as a technique to promote the above mentioned

skills. Throughout history, drama has been utilized in healing, education, and

entertainment. Employing drama in the training of psychologists blends the healing and

educational elements in an experiential training approach.

The first component of the class will be improvisation. Improvisation within

drama is similar to the improvisational skills needed in a therapeutic relationship.

Improvisation facilitates better communication skills in that it necessitates active listening

in order to respond authentically. It necessitates being available to another person in the

moment and working with a partner. It allows students to work with their empathic skills.

In playing a character, the student must identify with the other, and understand how

aspects of oneself can relate to another. Learning how to identify parts of oneself with the

life of another facilitates self-awareness. The objective is to empathize with the character

as the student should empathize with the client, retaining the as //mentality. It should be

noted this program focuses on empathy as a condition rather than an observable

communication skill. Improvisation also encourages creativity and spontaneity.

The second component of this program will be playback theatre and role-play.

Playback theatre enacts a story from an audience or group member. To perform the story

requires students to utilize empathic listening, spontaneity, and creativity. Role-plays will

also be enacted from the point of view of a character with another student playing

therapist. This blends the acting portion of the class with aspects of the therapeutic
80
relationship. Combining drama and role-plays will also facilitate more invested role-plays

in future training. It will also require that both students utilize empathy, listening,

spontaneity, creativity, and self-awareness in the interaction.

Select Measures

Pre-test and post-test measures will be used with the proposed program. These

measures will be provided upon entrance to the program, upon exiting the program, and

at a six-month follow-up. At the six-month follow up participant scores will be compared

to a control group. Two measures will be proposed as possibilities in assessing the

program.

The first will measure empathy in the trainee. The Interpersonal Reactivity Index

(IRI) is a 28-item instrument consisting of 4 different 7-item subscales used to measure

empathy. The ERI scales measure perspective taking, empathic concern, fantasy, and

personal distress. The perspective-taking subscale assesses the respondent's tendency to

spontaneously adopt the psychological viewpoint of others. The empathic concern

subscale assesses "other-oriented" feelings of sympathy and concerns for unfortunate

others. The fantasy subscale assesses ability to identify with characters. The personal

distress subscale measures 'self-oriented' feelings of anxiety and unease in interpersonal

settings. The IRI subscales have been shown to be reliable and accurate indicators of

social functioning, self-esteem, emotionality, and sensitivity to others. Another empathy

assessment possibility is the Empathy Quotient (EQ). It should be noted that the writer

agrees with Hackney (1975) in that empathy is a condition rather than an observable,
81
measurable communication skill, therefore any measure is not likely to capture the

condition of empathy appropriately.

The second measure will assess self-efficacy within the novice trainee. Lent, Hill,

and Hoffman's (2003) Counselor Activity Self-Efficacy Scales (CASES) could be used

to measure the trainee's self-efficacy at each time interval. Only the first two segments

(Helping Skill and Session Management) would be given as the third (Counseling

Challenges) does not relate to the program and may represent challenges novice trainees

have yet to experience.

The student will also write down their experiences each week in an acting

notebook or journal. This journal will be reviewed by the instructor and perhaps even

discussed with each student as they make discoveries throughout the learning process.

A pilot program was held prior to the conclusion of this dissertation and

implementation of the actual program. Participants were accessed after approval by the

Institutional Review Board (IRB). The informed consent document will be included in

Appendix A of this dissertation. The pilot program consisted of eight participants.

Participants were asked to take part in a two hour pilot class. The class briefly discussed

the benefits of utilizing drama in the training of therapists. Class participants then enacted

improvisational games and a playback theatre scenario. The last portion of the class was

devoted to verbal and written feedback of the program. Participants signed a waiver to be

video and audio taped.

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 Personnel

The personnel consist of one instructor. The instructor should be a registered

drama therapist or a psycho-dramatist. If the instructor does not have this type of

licensing, a clinical psychologist with a significant background teaching drama could also

instruct the class, however the first scenario is preferred. The instructor will gather the

materials needed for the program, teach the program, and monitor the student's

development. The instructor will be provided with curriculum planning for the course.

Briefly, the curriculum will consist of improvisation games and techniques, and a guided

playback experiential example.

If the program is not housed within an existing institution, an administrator of the

program will need to be hired. This person will find classroom space, market the class,

accept students and their payments, and coordinate the professor and class members.

Training Requirements of Personnel

The instructor of this course will be a registered drama therapist or psycho-

dramatist. If a clinical psychologist is hired to instruct the program, she or he will need a

significant background in teaching drama. A registered drama therapist or psycho-

dramatist is highly preferred.

The administrator can have any level of training, but will require a background in

office assistance or management, preferably at an educational institution.

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 Materials, Space, and Time Needed

Materials needed to run the program will include a required text, Viola Spolin's

Improvisation for the Theatre (1963), and Mick Napier's Improvise. Scene from the

Inside Out (2004). A supplemental reading list will be given to the participants with the

syllabus of the course. Suggested readings will include Ranier Maria Rilke's Letters to a

Young Poet (1954), Eva LeGallienne's The Mystic in the Theatre: Eleonora Duse (1973),

Rollo May's Courage to Create (1975), Augusto Boal's, Games for Actors and Non-

Actors (2002), Tian Dayton's, Drama Games: Techniquesfor Self-Development (1990),

Michael Rohd's, Theatre for Community, Conflict & Dialogue (1998), Jo Salas's,

Improvising Real Life: Personal Story in Playback Theatre (1993), and Daniel Wiener's,

Rehearsals for growth: Theater improvisation for psychotherapists (1994).

Classroom space will be rented. The room will require enough space for

movement of classroom participants. The program will accept twelve students as a limit

per semester or per workshop.

The program will run over one semester as a three credit class if involved with an

established institution or psychology training program. The semester will be separated

into two eight-week sessions. The first session will be dedicated to improvisation. The

second session will be focused on improvisation and playback theatre. Class will meet

each week for three hours. Class will meet for a total of sixteen weeks.

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 Funding Sources

The program will be funded by either an institution or psychology training

program, a grant from an Art in Education source, or by the students participating in the

program.

Budget

Budget will include classroom space rental, overhead expenses, salary for the

trainer, and any copying or book costs.

Salary for trainer: $6000 (http://www.apa.org/ed/pcue/parttime_faculty.html)

Classroom space: $300 if renting for freestanding workshop in Chicago-area, if within an

institution, space pricing will vary depending on lease agreement within the institution.
The $300 figure will be used as an average estimate for institution room fees as well.

Salary for administrator: $960 (Based on an estimate of 5 hours/week, 16 weeks total at

$12/hour)

Books. Participants will purchase required book: 30$

Copying. From various book chapters, estimated copy costs at 10 cents per copy total 50$

Total. $7310 if within an institution

Total. $7340 if a freestanding workshop. If offered as a workshop, costs will be divided

by students. Total cost per student: $611.67. A freestanding workshop would likely need
the financial support of a grant to decrease cost to the individual student.

Program Implementation Timeline

The program will be held sixteen times throughout one semester. The length of

each class will be three hours, and class will meet once per week. At the first meeting

85
there will be a discussion about the connection between drama and therapy and

improvisation will be introduced. The next several class sessions will focus on

improvisational games and techniques. This will allow the students to become more

comfortable in the experiential learning atmosphere. The next eight week portion of the

class will open with improvisation, followed by a discussion of playback theatre. The

following classes will begin with improvisational games, followed by playback

enactments. Then role-plays between pairs of students will be enacted from the

perspective of characters.

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 CHAPTER 5: PILOT PROGRAM

The Class

A pilot program was held for two hours in the evening on August 29th, 2007. The

class consisted of eight participants and was led by Keith Whipple, a drama therapist,

psycho dramatist, and improviser in Chicago. Keith Whipple, MA, is Associate Director

of Drama Therapy at the Institute for Therapy through the Arts. He graduated from The

Theater School of DePaul University with a BFA in Acting in 1986. He then worked in

correctional institutions throughout North America, England, Scotland, and Ireland,

where he performed and conducted drama workshops as part of the Geese Theatre

Company. He returned to Chicago in 1990 to complete his MA in Therapeutic and

Educational Drama (Lesley College, 1996) through theatre work at the Marjorie Kovler

Center for the Treatment of Survivors of Torture, and at The International Refugee

Center of the Heartland Alliance, working with immigrants and refugees in the Uptown

neighborhood. Keith also worked in the Uptown neighborhood with Casa Guatemala's

youth theatre, Konojel Junam, and co-directed Nation of All, a theatre summer-jobs

program for youth. He interned at Columbia Lakeshore Hospital in adolescent mental

health and drug treatment. He is a veteran stage actor, and he performs and teaches

improvisational comedy for the Comedy Sportz Theatre. He was Chicago

Comedy Sportz's first official Director of Education and founded their improv High

School League in the Chicago area. He is a member of the American Society for Group

Psychotherapy and Psychodrama and the National Drama Therapy Association. Keith

87
was asked to lead the class given his strong background in improvisation, drama therapy,

psychodrama, and teaching.

The eight participants were from various years in the PsyD program at The

Chicago School of Professional Psychology. The group was made up of two first year

students, three second year students, one third year student, and two fourth year students.

There were three female participants and five male participants. The participants received

a stipend of twenty dollars for their participation. The purpose of the class was to

introduce PsyD students to improvisation as a clinical training tool. The intention was

also to assess student interest in this type of training as well as to gather feedback on their

experience of learning clinical skills through improvisational techniques.

The class began with an introduction of the dissertation and a discussion about the

link between acting or improvisation and psychological training. The group sat in a circle

and introduced themselves. Before moving on to the improvisation portion of the class,

Keith Whipple discussed the training emphasis of the class. He stressed that the class was

created for training as opposed to therapy for the participants.

The improvisation portion of the class was composed of seven improvisation

exercises. After each exercise, the leader brought the group back into a circle to process

any questions or experiences from the participants. The first exercise was called Kitty

Wants a Corner. This exercise was selected from readings by Viola Spolin and others. In

this exercise, one participant was in the middle vying for a space in the circle while the

other participants were swapping spots around the circle. The participant in the middle

must continue to ask participants in the circle Kitty Wants a Corner while being aware of
88
the spaces left vacant by other participant's movements. The purpose of this exercise was

to create energy in the participants. It was also selected to inspire connection and

interaction between the participants. Finally, it was intended to get the participants out of

their heads. The intention was to get them off balance so that they could be more in the

moment rather than thinking about the moment.

The leader then moved directly into the next exercise entitled Pass the Gesture. In

this improvisation exercise, the participants created a gesture for themselves and shared it

with the group. The leader continued to repeat gestures as they were created around the

circle. Then the game began in which the participants would enact their own gesture and

then the gesture of someone else in the circle. This pattern then continued to another

participant through gesture. The intention of this game was to increase ease for the

participants. Participants also had to work with call and response in this game. This

required listening and observation skills.

The participants were then asked to come back to a circle and process the two

exercises. In the first exercise the group noticed that the circle got closer and closer as the

game progressed. They also noticed that they became more organized as the game went

on. They also discussed the laughter in both exercises as a result of nervousness and

having fun. While discussing the second exercise, the leader asked about what happened

when the gesture stopped? The participants and leader discussed the possibility of the

energy dropping. With that, it was difficult to pick up the pace again.

The leader then moved into the next exercise, a variation on Follow the Leader.

The participants were paired off and given the task of one member leading the other, their
common point the touching of their hands. The pairs continued to switch the leading

partner. Then the group got into one line connected by touching hands and moved about

the space. The leader then asked the participants to go back with their original partners

and asked the person being led to close their eyes.

The group leader then asked the pairings to partner with different people, again

closing their eyes in the exercise, Blind, by Michael Rohd (1998). The group leader asked

the pair leaders to take their blind partner on a journey. The pair leaders were asked to

switch partners and leaders several times. The exercise emphasizes trust within a group.

It also works with physical contact, sharing common goals, and protecting one another.

Participants were then called on to process their experience of the exercise. They

reported it was difficult to switch partners. Group members indicated that it was scary to

close their eyes, and, although they felt the exercise was utilized to foster trust, they

sometimes experienced difficulty trusting the other with their eyes closed. One student

indicated that the movement as partners felt like modern dance. They discussed the

closeness and intimacy of the pairings as well as the trust needed when blindly following

a partner.

The group leader then directed the group back into the space to continue with the

Blind exercise. During this portion of the exercise, the leader asked the paired group

members to add narrative to the exercise. Essentially, he instructed the leaders of the

pairing to take their partner on a journey. The pairs switched leaders and partners several

times during this exercise. When processing this portion of the exercise, participants

discussed the stories and narratives they were involved in. They also discussed the
90
difficulties involved in switching partners while being blindly led around a room. They

related the switching of partners in this exercise to the field of psychology in that a client

might often see various clinicians as well as clinicians with different orientations. The

difficulty of switching in the trust exercise was associated with the difficulty clients

might experience in having to see various clinicians. Participants reported they relied on

the narrative to distract them from transitions between leaders and partners.

The group then moved into the exercise, Emotional Symphony. The leader asked

group members to voice emotions related to their experience of being a PsyD student.

Emotions that were discussed were; uncertainty, anxiety, anger/frustration,

defensiveness/fear, and shame/embarrassment. One participant voiced the idea that we

are always enacting different roles. She questioned how one could be more authentic. A

discussion ensued regarding how it might feel to be 100% in your body and authentic.

From the discussion of emotion, the leader designated groups of two with a specific

emotion. These pairings stood next to each other in a semi-circle. Each pairing was asked

to use sound and vocalize the emotion through sound. The emotions utilized in the

symphony were; anger, anxiety, uncertainty/shame, and fearful/defensive. The leader

acted as conductor and created a sound symphony of these listed emotions. He then asked

if anyone else wanted to conduct. A student then conducted while others looked on. Then

the group shifted so that the remaining participants could watch the symphony as well.

Emotional symphony works with exaggeration and creativity, trusting intuition, accessing

emotion, and broadening one's own range of emotion.

91
 The group then processed the previous exercise. They discussed the stories they

noticed within the emotional symphony. The connection and interaction between the

conductor and the actors was also discussed. The leader decided to add in another

exercise given the remaining time available.

The group moved into the exercise Meet the Client. The group leader separated

the participants into groups of interviewers and interviewees. The interviewers were told

to leave the room, while the interviewees were asked to treat each interviewer differently.

The interviewees were asked to connect with the first interviewer by matching their

physicality and possibly their emotionality. For the second interview, the interviewees

were asked to not match their interviewer. The interviewers walk in without knowing

what to expect. The exercise facilitates listening, empathy, and observation skills.

In the processing of this exercise, interviewee participants indicated that matching

was easier than not matching. Further, some group members reported they experienced

difficulty not matching their partner. The group discussed the possibility that not

matching may lead to making judgments. The leader asked how much matching one

would see if watching an empathically connected dyad. The group agreed there would be

significant matching if a connection was made.

The final exercise was entitled Machines. In this exercise, the participants worked

together to create a machine of sorts. One participant starts with a motion and perhaps a

sound, and then, one by one, other participants join in and add on to the motions and

sounds. The leader asked the group to create a PsyD machine, asking them to enact a

machine voicing their feelings about being a student. The machine represented much of
the stress and anxiety the participants experienced being graduate students. After

developing that machine, the participants were then asked to create an opposing machine;

the guidance was given to perhaps create the ideal situation or experience for a student.

The machine manifested into two machines, one devoted to the experiences of the

students, and the other devoted to the student's experience of their parents.

While processing Machines, students reported their difficulty listening to all

group members. Although they felt connected to certain members through sound and

movement, they often ignored other members who were not physically connected to

them. Some group participants reported feeling that their machine broke down and

individual components of the machine were not connected. The leader asked this group to

go back into the space and reenact the machine in effort to create more connection within

the machine. He worked with each member to create a cohesive connection between all

group members. Participants reported they enjoyed re-working the machine. They

reported listening to each other. They indicated that they enjoyed manipulating the

situation and working with an opposite range of emotions. At the end of this discussion,

the group leader suggested that, if this exercise were to continue, the ranges of emotions

might expand and you might see people making stronger character choices within the

machine.

A pilot program outline is included in Appendix B and a transcription of the class

is included in Appendix C of this dissertation.

93
 The Feedback/Results

Participants were asked to discuss their overall experience of the class at the end

of the improvisation exercises as well as complete a Thoughts/Feedback form. The

feedback form is included in Appendix D and the anonymous responses to each of the

participant's individual forms are included in Appendix E of this dissertation.

Much of the verbal feedback discussed after each exercise is included in the

section above. Overall verbal feedback about the class was gathered at the end of the

exercise portion of the class. Participants sat in a circle discussing their thoughts and

feedback about the class, improvisation, and psychology while simultaneously filling out

the written feedback forms. One participant reported enjoying the Meet the Client

exercise. He felt the exercise had the ability to expose players to different types of people

one may encounter in a therapy setting. He further indicated that this game prepares

participants how to deal with different people in a therapeutic situation. Another

participant discussed improvisation as compared to role-plays enacted in traditional

psychology classes. He indicated that in class, one plays a role of the wise psychologist,

which he described as a "rigid mindset," whereas in these improvisation exercises, "you

find yourself letting go more and really trying to just relax yourself as a person."

Participants indicated that improvisation allows for the opportunity to try out new

ideas and can challenge one to move beyond their comfort zone as a therapist. Another

student pointed out that improvisation allows a player to be creative and let go of what

may be blocking growth. One participant noted that improvisation allows for a discovery

about the self and others in the group. Another student related that improvisation allows
94
people to move beyond dichotomies. She indicated noticing the energy between people

and the layering of group consciousness throughout the exercises.

Other students related the improvisation exercises to their work as therapists. One

student indicated that she works as an art therapist. She reported feeling that there are too

many expectations from clients in traditional talk therapy. She indicated experiencing less

pressure when clients are active and engaged in a co-constructed project. Another student

discussed the ways in which these improvisation exercises would be applicable to family

therapy.

The written feedback form incorporated six questions, including open and closed

questions. The first question queried, "Please describe any strength(s) of this

improvisation class and/or a potential course utilizing drama in psychology training."

There were several themes derived from the responses of all of the participants. The first

theme related to the class's potential ability to lower anxiety with both clients and

strangers (likely strangers in class). Many participants also wrote about the class's ability

to increase awareness and self-discovery. As a benefit, the participants also indicated the

course's ability to increase interaction with other classmates. Others also wrote about

experiential learning as a strength because one receives full participation in the learning

process. Two participants further noted the specific exercise of Meet the Client. They

noted the benefits of matching and "exposure to various personalities."

The next question asked, "What suggestions do you have for improvements of

this improvisation class and/or a potential course utilizing drama in psychology

training"? Responses to this question included a few themes. One theme related to
95
wanting more detailed conversation surrounding concepts and theory. Responses

suggested more discussion before and after the improvisation exercises linking

improvisation to psychology training. Another suggestion was to allow more time for

warm-ups in order to lessen anxiety. Participants also suggested utilizing writing as a

reflection tool. Another participant suggested additional participant interaction to get

people "out of (their) comfort zones."

The third question asked, "Do you feel there is a connection between

improvisation and therapy"? All participants responded yes, with one participant noting,

"depending on client and their background." The fourth question surveyed, "On a scale of

1 - 5, how do you think an improvisation class would benefit your skills as a

psychologist? (1 - Not at all beneficial, 5 - Extremely beneficial) " The mean of

participant responses was 4.5, between likely beneficial and extremely beneficial.

The fifth question explored, "Which therapeutic skills would this type of class

benefit"? Participants indicated the following therapeutic skills: listening skills, empathy,

non-verbal observation skills, self-awareness and self-reflection, attunement and rapport,

interviewing, authenticity, emotional intelligence, and "personal comfort in various

situations or (with) personality types." Another respondent suggested that utilizing

improvisation in training therapists "works really well with psychodynamic

contemporary relational approach or conceptualization."

The final question asked, "Do you think the creative arts have any place in the

training of psychologists? If so, what"? Participants responded yes overall, with various

reasons behind each yes statement. One respondent suggested that creative arts facilitate
learning about the self as a whole and treating the client as a whole entity. Another

respondent proposed that creative arts facilitate flexibility that is needed for critical

thinking. Another idea indicated that creative arts allows for more role exploration which

can prevent rigidity and provide the psychologist with more tools. One respondent

suggested that creative arts allow for individuals to explore the self. Another put forward

that creative arts would train you "in a different way." One participant indicated that

creative arts are a part of psychology in that "therapy is an art."

Overall feedback from the pilot program class was positive. Students seemed to

enjoy the improvisational work, and found benefits working within this experiential

method. Of note in the feedback was the participant emphasis surrounding the

improvisation class's ability to improve listening skills, improve self-awareness, and

minimize anxiety.

97
 CHAPTER 6: TRAINING PROGRAM

The Program

This section will discuss the emphasis, agenda, and materials for the proposed

training program. The course was structured based on the workshop sequence that Spolin

(1963) discussed in Improvisation for the Theatre, as well as Forsyth's (2003) textbook,

The Professor's Guide to Teaching Psychological Principles and Practices. Information

gathered from the pilot course, conversations with Keith Whipple and Dr. Ted

Rubenstein, and information from supplemental course reading material also aided in the

structure of the course. A proposed outline of a course syllabus will be included in

Appendix F of this dissertation. The syllabus is reflective of the model for creating

syllabi at The Chicago School of Professional Psychology.

The course description indicates that the purpose of the course is to introduce

students to experiential training techniques in effort to facilitate active learning of basic

helping skills prior to going on the first practicum experience. The course will introduce

students to drama and improvisation, playback theatre, and creativity awareness; all

which can strengthen skills needed for building rapport, working with clients, and future

learning as psychologists. The overall goal for this course is to strengthen helping skills

and develop confidence prior to a practicum experience (where a student must learn in

the moment).

There are eight objectives for the students participating in the course. The first

objective is to be able to identify basic methods and rules of improvisation. The next

objective is to be able to describe basic skills needed in interviewing and working with
client populations. The third objective is to be able to demonstrate ability in

improvisation game, role-plays, and playback theatre demonstrations. The next goal is to

be able to react authentically to material and experiential learning methods. Another aim

is to be able to examine and identify personal empathic ability and listening skills. At the

conclusion of the course, the student should be able to analyze how the self is involved in

working with others. The student should also be able to identify creativity within the field

of psychology. Finally, the student should be able to integrate methods from the fields of

drama and psychology.

The course objectives were developed using the Bloom's Taxonomy of Education

Objectives (Forsyth, 2003, p. 12). The course is geared toward first year PsyD students;

therefore, the objectives focus primarily on the knowledge, comprehension, and

application levels of Bloom's Taxonomy. The last three objectives move into the analysis

and synthesis levels.

The course will be organized around class participation, discussion, and practical

application. Students will spend much of their time on their feet in the class. This entails

active involvement by each student in order to maximize the learning of all students in

the class. The course will cover topics such as improvisation, role-play, playback theatre,

creativity in learning, self-awareness, and empathic listening. It is expected that the

students will have read the assigned materials prior to class.

Lecture, discussion, and enactment will be the three primary methods in teaching

this material. Enactment (i.e. improvisation, role-play) methods will be central to the

class. Active and experiential methods are being utilized to help students understand in a
different way; to understand learning actively through movement, contact, and immediate

response. Experiential methods also allow students to rehearse client interactions and

become more comfortable in this type of interaction. As every student has a different

learning style, different methods of teaching will be incorporated into the classroom

setting. Enactment or experiential training will be the focus of the course; therefore much

of this section is devoted to a more in depth description of this type of teaching and

learning.

The suggested textbooks include Viola Spolin's Improvisation for the Theatre

(1963) and Mick Napier's Improvise: Scene from the Inside Out (2004). The Spolin text

was chosen as it is considered the "bible" of improvisation and was developed through

her work with Neva Boyd who used improv in her work with children. Many

improvisational techniques and schools have been developed from Spolin's ideas. Mick

Napier is a well known improviser and director in the Chicago area. His ideas are taken

from Spolin, but he negates many of the rules that are associated with improvisation.

Each book gives a unique perspective on improvisational techniques. However, these

books are focused on improvisation performance. The additional readings intend to blend

improvisation into training for psychologists. The additional readings reveal ties between

psychology and drama/improvisation. They also foster creativity in thinking with the

intention of transferring this type of thought process into everyday life and into the

budding therapist's mindset. Additional suggested readings from the following books

include: Rollo May's The Courage to Create (1975) to help understand the process of

creativity, Rilke's Letters to a Young Poet (1954) and LeGalliene's Mystic of the Theatre
100
(1973) to understand the mindset of the artist, Dayton's Drama Games (1990), Boal's

Games for Actors and Non-Actors (2002), and Rohd's Theatre for Community, Conflict,

and Dialogue (1998) for specific improvisation games to utilize in the course as well as

leading into some understanding of playback theatre and image theatre, and, finally,

Fox's Acts of Service (1986), and Salas's Improvising Real Life (1993) to understand the

process of playback theatre. These books are all suggestions and are not necessary texts

to conduct the course. The professor of this experiential course should select texts that

facilitate the activities and assignments as well as the process of the course discussed

below.

The course is divided into five activities and assignments in effort to evaluate

student's growth. The course will utilize several student centered activities. As the class

is focused on building helping skills and confidence, student centered activities seem

most appropriate. The first is improvisation and games the student's will participate in

each week. The student will be evaluated on their participation and motivation, not on

their acting ability. The purpose is for the student to get in touch with their creativity,

spontaneity, and self in order to strengthen skills needed in the client relationship. These

experientials are in essence a large group activity which may be broken down into

smaller group activities depending on the focus of each class.

The next activity is journaling. Students will be asked to journal about their class

experience, reaction to readings, and reaction to homework exercises each week. Journals

are intended to connect the material with the students' personal experiences (Forsyth,

2003). The journals are intended to help the student make sense of the material. Journals
will help to evaluate if they are able to identify and describe basic methods of

improvisation. Journaling also evaluates how they are examining and identifying personal

ability and listening skills. The journals will also hopefully display how the student is

analyzing how the self is involved in working with others.

Students will also be evaluated on their participation in class discussion, which is

separate from their participation in experiential exercises. This discussion piece gives

students who have difficulty working in a very experiential way the chance to express

themselves through conversation rather than action. It is also more of a normal type of

classroom activity and may ease the anxiety of students who are experiencing difficulty

working in such an active way.

Each of the three activities described above strives to enhance personal

development for the student through self-awareness and use of the self in drama and

improvisation. Personal development is highlighted in Angelo and Cross's (1993) 6-

Factor Model of Teaching Goals. Personal development through self-awareness helps the

student to "develop capacity to think for oneself' and transfer classroom learning into

continued learning and work in the field (Forsyth, 2003, p. 16).

The fourth evaluative piece is an art and psychology connection paper. This

research assignment asks the students to research a topic that involves looking into the

connections between art and psychology. Possible topics are specified in the course

syllabus, but topic decision is at the discretion of the student. The course integrates

writing as an activity as, "writing is a profoundly active experience, for when people

write, they identify and define problems, evaluate evidence, analyze assumptions,
102
recognize emotional reasoning and oversimplification, consider alternative

interpretations, and reduce their uncertainty" (Wade, 1995, as cited in Forsyth, 2003, p.

115).

The final activity and evaluative piece of the course is the final improvisation and

playback performance. The students will perform for the class and possibly an invited

audience during the last class period. The performances will be evaluated on their

commitment to the project, their authenticity, and their integration of the subject material

learned over the course of the semester. Again, students will not be evaluated on their

acting ability. The final performance is the closure for the class. An improvisation or

performance class loses some of its life without a final presentation as closure. Hopefully

the final performance will inspire students to continue this type of learning beyond this

course, into further role-play and experiential training, and into the therapist-client

relationship.

The approximate agenda or process for the course is as follows. This is only a

brief outline as each professor should set the calendar as he or she finds to be appropriate.

The agenda for the course is discussed only to suggest key components necessary for the

course as well as to propose the flow of the course. Specific texts and assignments are

noted in the attached syllabus but are only listed as suggestions.

The first week of the course should be devoted to introductions, syllabus

discussion, and a brief introduction to improvisation, drama, and psychotherapy. Weeks

two, three, and four should be focused on an orientation to improvisation. Psychology

students will need time to adjust to working in this method. Weeks five through ten will
be devoted to specific aspects necessary to improvisation and connected to building the

therapeutic relationship. Topics covered in these weeks are as follows: who, where, what;

listening; empathy; character; emotion; and scenes. The eleventh week will focus upon

role-play, tying psychological training methods to improvisation work. Weeks twelve

through fifteen will focus upon playback theatre, tying in all of the improvisation work

from the past eleven weeks. The final class period will be devoted to playback theatre and

improvisation performance. A more detailed calendar is depicted in the attached syllabus.

Any student experiencing any difficult surrounding the class material or

participation should please discuss this with the professor at any time. There is

recognition that this way of working may be new to many students, and may create

anxiety for students. The hope is that the student will try to work through this anxiety and

hopefully become more comfortable in class and working in this style.

104
 CHAPTER 7: DISCUSSION

Discussion

This dissertation suggests the lack of emphasis on research and training of basic

helping skills (or pre-practicum skills), self-awareness, and creativity for professional

psychology students in training. As discussed in the dissertation, the lack of training in

these areas creates low self-efFicacy and anxiety in the student psychologist.

Improvisation and drama techniques are suggested as a supplement to the developing

student's training program in order to create a more holistic experience for the student, as

well as focus upon the skills listed above that are lacking in current training curriculum. It

is hoped that utilization of improvisation and drama techniques will lessen anxiety and

improve self-efficacy in the developing student in further training (e.g. in future in-class

role-plays) and in future work as a practicum student, internship student, and

psychologist. It is also hoped that this program will strengthen active listening skills,

empathy, here-and-now engagement with others, self-awareness, and creativity in the

psychology student.

The literature review within this dissertation spans many topics and fields. An

attempt was made to discuss the need for these skills (empathic listening, self-awareness,

and creativity) in training and was discussed within the NCSPP's training competencies

and developmental achievement levels, specifically the relationship competency. A

discussion of past basic helping skills training techniques was presented, as was the

evidence of the lack of research in this area today even as students are entering into

psychology programs less prepared than in the past. Empathy, empathic listening, self-
105
awareness, and creativity were then defined and discussed in relation to their respective

need in psychological training. Role-play was defined and discussed as a training

technique in psychology as well as within its dramatic roots. A history of theatre and

drama was then given to show the therapeutic roots of theatre as well as the therapeutic

benefits of watching theatre and of acting itself. Acting and theatre were then tied to

current uses of drama and psychology; psychodrama and drama therapy. The attempt was

to indicate that drama is utilized to help facilitate growth in clients and to heal. A drama

in education segment was then included to describe the benefits of drama in training and

learning. While the literature review only includes a brief overview of each topic or field,

the attempt was to create an overall understanding between the lack of training for these

skills in psychology and the benefits that drama could provide in teaching these skills to

psychology students.

Research on this program development dissertation was qualitatively conducted in

a two hour pilot program of the course. The course contained seven experiential activities

for the participants. After each experiential improvisational activity, the participants were

asked to discuss their experiences informally in the small group setting. Activities ranged

from improvisation orientation games, role-plays that were similar to those used in

psychology classes, and a group improvisation that represented participant's reactions to

being psychology students. Eight PsyD students from various years in the program

participated in the research. The purpose of the class was to introduce PsyD students to

improvisation as a clinical training tool. The intention was also to assess student interest

106
in this type of training as well as to gather feedback on their experience of learning

clinical skills through improvisational techniques.

Overall feedback on the pilot program was positive. Written feedback suggested

the following strengths in the course: potential to decrease anxiety in students, potential

to increase self-awareness and self-discovery, and a potential for more student

interaction. All participants indicated a connection between drama and psychology. On a

scale of 1 - 5, students noted an average of 4.5 on the benefits of improvisation in

building skills as a psychologist. Participants reported the following skills as ones that

could be improved with improvisation training: listening skills, empathy, non-verbal

observation skills, self-awareness and self-reflection, attunement and rapport,

interviewing, authenticity, emotional intelligence, and "personal comfort in various

situations or (with) personality types." All participants responded yes to believing

creative arts should be a part of psychology training.

Participants suggested improvements to the course relating to more discussion of

the techniques and theory behind the improvisation exercises. Participants also suggested

more discussion surrounding the connection between drama and psychology. Another

idea was to allow more time for warm-ups in order to lessen anxiety. Participants also

recommended utilizing writing as a reflection tool. Each of these suggestions or ideas

was incorporated into the final creation of the course. Didactic lectures will occur

throughout the course discussing aspects of and skills within improvisation, drama, and

psychology. Time was allowed, especially in the beginning of the course, to get

107
comfortable with working in an experiential way. Writing was also incorporated into the

course in both journaling and a research paper.

Limitations to this research relate to the qualitative nature of this study. The pilot

class consisted of eight participants. The responses should be viewed as initial

interpretations and utilized as suggestions for future research. Recruitment attempted to

avoid confounds by offering payment for participation. However, it is likely that

participants had some interest in the subject matter which could have inflated their

responses to the class.

This researcher hopes there will be future research in this area of psychological

training. Further, it is hoped that this program will be enacted and evaluated. An outline

for the necessary components for the course and a basic syllabus was created. It is hoped

that this syllabus will be utilized by a professional psychology training program or a

freestanding program to evaluate the course in its entirety. Evaluative methods such as

the IRl, the EQ, and the CASES were presented as pre-, post-, and follow-up measures

for empathy and self-efficacy. Journals could also be a potential measure in evaluating

the course. Each of these methods evaluates the growth of the student as well as the

benefits of the course.

108
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 APPENDIX A: INFORMED CONSENT FORM

I, , understand that I am invited to participate in a

research project entitled "Acting Crazy: A Training Program that Strengthens Empathic
Listening, Creativity, and Self-Awareness for Psychology Students." I have been asked
to participate because I am a PsyD student. This research is being conducted as part of
the dissertation requirement of the doctoral program at the Chicago School of
Professional Psychology. This study is being conducted by Abby Bradecich (773-791-
8483) and Dr. Grant White (312-329-6643). I understand that the purpose of this study is
to understand the potential benefits of dramatic acting in the training of psychologists.
My participation will be included in a research dissertation that will create an acting class
for psychology students. I understand that I will be asked to take part in a two-hour
improvisation class. I understand that this class will be audio taped and videotaped. I will
also be asked for feedback and thoughts about the class during the last portion of the
class. The entire time of my participation will be two hours. I understand that there are
minimal risks associated with participation in this study. These risks may include
emotional reactions to working in a creative modality. The benefits hoped for this study
include identifying the strengths and weaknesses of implementing an acting class in the
training of psychologists. While I expect no direct benefits by participating in this study,
I understand that the information may be useful to others in the future. I understand that I
will receive $20.00 for my participation in this study at the conclusion of the class. I
understand that I am free to cease participating at any time without any impact on the
level of compensation.

I understand that any information obtained from me during this study which can identify
me will remain confidential, or will be disclosed only with my permission unless
required by law. I am in agreement that scientific or clinical information not identifiable
with me resulting from the study may be presented at meetings and published so that the
information can be helpful to others. My name will not be associated with any results; all
results will be reported in a group format. The videotape and transcription will be
maintained securely for a minimum of 5 years, after which they will be destroyed.

I understand that I may ask questions at any time during the study.

This study has been approved by the Chicago School IRB Committee. If you have
questions regarding the ethical approval of the study, please call or e-mail the IRB
Committee chair, Dr. Evan Harrington, at 312 329-6693
(eharrington@thechicagoschool. edu).

Participant Signature

Date
Agreement to audiotape (please initial)
Agreement to videotape (please initial)
119
 APPENDIX B: PILOT PROGRAM OUTLINE

Acting Crazy - Psychology Training Program

August 29, 2007; 7:15pm - 9:15pm
Instructor: Keith Whipple
Abby Bradecich
8 PsyD students

7:15pm: Students enter, read, and sign confidentiality forms.

7:20pm: Introduction (Abby)

The intro will consist of a few quotes as an introduction to the work. My intent is
to make the introduction brief to allow for time spent doing the work.

Group sits in a circle - Introduce self by going around the room and indicating
their year in school. Expectations or goals for the class?

Thanks for your participation. Will only discuss bolded sections in the intro.

From Dissertation Proposal: The overall goal of the proposed program is to

strengthen helping skills in graduate psychology students in order to increase self-
efficacy and lower anxiety related to counseling abilities and the therapeutic
relationship. A training program utilizing drama and improvisation will help
strengthen empathic listening, self-awareness, and creativity in psychology
students by increasing the authenticity of role-plays and aiding in the student's
examination of the self and creativity through their work with characters and
improvisation. The students will work with creativity, improvisation, and
playback theatre in order to empathize with others, heighten listening skills, and
learn more about the self in the creative process.

Spolin (Games for Teachers):

"The writer intends, that is, not merely to provide students with theatre
experiences but to help them become responsive to their fellow players, able to
create an environment through behavior and to transform ordinary objects into
extraordinary ones. Most important, the games will make students more
knowledgeable about themselves." Further: "Playing theatre games, students will
learn not only a variety of performance skills, but the basic rules of storytelling,
literary criticism, and character analysis. Through play, they will develop
imagination and intuition; they will find it easier to project themselves into
unfamiliar situations. And, by being exposed to their own creative and artistic
possibilities, they will, of necessity, learn to concentrate their energies, to share
what they know. These games, in short, go beyond the theatrical to nurture skills
and attitudes that are useful in every aspect of learning and life.
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 Intuition, necessary in therapy, can only be felt in a moment of spontaneity.
Games allow for spontaneity. "The intuitive can only be felt in the moment of
spontaneity, the moment when we are freed to relate and act, involving ourselves
in the moving, changing world around us."

The heart of improvisation is transformation.

Rohd:
"The act of expression is an act of connection - through it we become positive,
active participants in our lives and in our communities" (Foreward)

Emunah:
Dramatic enactment can change us as people. We are deepened and
broadened by the roles we play. New parts of ourselves become
accessible, parts that can be mobilized in our work as healers.. Therapy is
not only a science; it is an art. Perhaps we can best express the art of
psychotherapy via an artistic process. (Emunah, 1989, pp. 35-36)

I do not believe that we must have lived through what our clients have; we
need not have been psychotic or alcoholic or abused to help such a client.
Nevertheless, to come closer to the skill of the shaman, we do need to
understand those we work with as deeply and empathically as possible.
This kind of understanding can occur through becoming the other, for
awhile, through dramatic enactment. (Emunah, 1989, p. 35)

Rogers (discussing role-play in 1951):

Students are encouraged to take the role of someone whom they know well, and
talk out some of the problems of this person, with another student acting as
counselor. As described, this device may seem artificial, but it develops a
surprising amount of reality and at times can become just as real for the counselor
as actual therapy. (Rogers, 1951, p. 469)

Handout 'Improv Paradigm" (Keith Whipple).

Be honest at the beginning of pilot class. Carry learning into everyday

life.. .would need to practice these techniques in life to carry it into work.

7:30pm: Introduce Keith Whipple (Drama Therapist and Psychodramatist- Institute for
Therapy through the Arts, and Improviser - Comedy Sportz).

7:30pm: Kitty wants a corner. (Spolin, other)

Energy
Connection/Interaction
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 Off balance.. out of their heads.

7:40pm: Pass the Gesture

Put people at ease
Call and Response

7:50pm: Process both games

7:55pm: Follow the Leader

Leading into Blind

8:05pm. Blind (No Contact) (Michael Rohd)

Group is split in half and line up across from one another.
One group closes eyes.
Other group, one by one, takes a partner and leads them silently around the space.
Cannot touch other groups within the space as more groups enter.
Call out, "faster," "slow motion," "only move backward," "crawl," etc.

At end have the pair process. And then process with the group.

Works with trust.

Physical contact, sharing common goals, and protecting each other.

8:20pm: Process

8:25pm: Emotional Symphony

Exaggeration (creativity)
Trust gut
Access emotion

Broaden your own range of emotion

8:35pm: Process

8:40pm: Meet the Client (added last minute given extra time)

8:40pm: Machines
"Your Life as a Student"
Possible mini-playback building a machine about a person's day
Possible "opposite" machine
8:55pm: Process 'Machines'

9:00pm: Thoughts/Feedback
Process Questions:
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 What did you like about this class?
What did you dislike about this class?
Do you feel there is a connection between improvisation and therapy?
Overall, do you feel like this class would benefit your skills as a psychologist?
Which skills would this type of class benefit? (i.e. Empathic listening, creativity,
self-awareness)?
Do you think creative arts have any place in the training of psychologists? If so,
what?

I will also be handing out these questions for those who do not feel comfortable
discussing this in front of the group.

9:15pm: End of Pilot Class

Thank you!!

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 APPENDIX C: PILOT PROGRAM TRANSCRIPTION

Participants: Names of students have been changed to protect confidentiality.

Keith: (Leader)
Abby: (Researcher)

Participants:
Monique
Ken
Jacob
Jordan
Stephanie
Antoine
Lori
Adrian

Abby: Ok, what we're going to do right now is just go around the room, and just say your
name, and if you have any expectations for tonight, please let me know, if not.. .just say
your name. And maybe what year you are. My name's Abby, and I'm a 4th year, and I'm
hoping that you all have fun.

Monique: My name's Monique, and I'm a third year.

Ken: I'm Ken, I'm a 4th year.

Jordan: I'm Jordan. I'm a rookie.

Jacob: Jacob. A 4th year.

Keith: I'm Keith. I'm a 15 minute.

Stephanie: I'm Stephanie. I'm a second year.

F: I'm Antoine. I'm a second year.

Lori: I'm Lori. Second year.

Adrian: I'm Adrian. First year.

Abby: Ok great. Thank you all for coming. Um, I am going.. tonight we're going to start
with just a brief introduction about what this dissertation really is about. And I'm going
to read you a quote linking therapy or training and improv - in a psychology sense. And
then we're just going to go right into the work with Keith. And we'll be able to process as
124
we go along. And if you guys have any questions throughout, please, just shout it out.
Very informal. And please ignore my taping (point to camera).. I don't want to be in the
way, because I will be off to the side just like taking notes and mostly doing taping. And
about the taping, it's mostly just for the transcript so I have something for the
dissertation... and no one will ever see it. Ok. Um...

The overall goal in my program is to strengthen helping skills in psychology students in

order to increase self-efficacy and lower anxiety related to counseling abilities within the
therapeutic relationship. A training program utilizing drama and improvisation will
strengthen empathic listening, self-awareness, and creativity in psychology by increasing
the authenticity of role-plays and aiding in the student's examination of the self and
creativity through their work with characters and improvisation.

So that's the basic gist of the reason for the class. And this is a quote from
Renee.. .Emunah

Keith: Emunah (pronunciation). I believe.

Abby: She is a drama therapist and she wrote an article about the connections between
training drama therapists using drama to become drama therapists and I thought it was
very appropriate to this class.

"Dramatic enactment can change us as people. We are deepened and broadened by the
roles we play. New parts of ourselves become accessible, parts that can become
mobilized in our work as healers. Therapy is not only a science, it is an art. Perhaps we
can best express the art of psychotherapy via an artistic process."

And then she further goes on to say:

"I do not believe we must have lived through what our clients have. We need not have
been psychotic or alcoholic or abused to help such a client. Nevertheless, to come closer
to the skills of Shaman, we do need to understand those we work with as deeply and
empathically as possible. This kind of understanding can occur through becoming the
other for awhile through dramatic enactment."

So I thought that was appropriate. Now I want to handout, Keith put this together, um,
it's just improv, he calls it The Improv Paradigm, it's just rules of improv. Um... through
Spolin, primarily?

Keith: Uh, yeah, basically, it's it's a, honestly, the genesis is looking at, goes back to
doing corporate work. And the point is, in any kind of student setting or places where
people are learning about what it is in improv, why improv? Why are corporations going
there, why in schools, why are people considering going to improv as a source. So going
back to Spolin, and looked at her introductory chapters on improvisation to the theatre.
125
And I looked at it as sort of a paradigm, what's the sort of thinking she's laying out, uh,
the gold means of improv. And, uh, it's laid out in terms of, uh, it's laid out as it is
because, the eight, uh, principles, these are principles that are in the chapter. They are laid
out this way because it's very cobiesque. Uh, that's uh subtype of highly (intelligent?)
people mode here, uh.. Really those are what's laid out. Uh, the quotes, you may find
others that work or are more provocative for you. But as you look through or go over
some of those things you will find that those are some of the activating principles that are
in improv.

Abby: All right, great. So why don't we just go ahead and go start doing some improv
exercises. Um, and just sort of remember that this would be a semester-long course so
take what you can, but you know, you need to take this stuff into your everyday life and
see how it plays out in your everyday life with your work in psychology. But just wanted
to be honest about, like, if this is going to change your life, you know what I mean,
(laugh) So, I just wanted to put that out there. Does anyone have any questions before we
start? OK.

Keith: Um. Two things as we go before we start from myself is that I've designed this
course with Abby to be a sense of moving into, uh, using the arts as a way of knowing
yourself better and getting more attuned and aware. We have not chosen this to be
something that is a drama therapy session or a psychodrama session. We have been very
deliberate about the way this is structured so that it's really about, um, having an
experience that is not invasive in any way, but that really gets to some of the things that
suggests what an actual semester course would be like. OK? So let me go ahead and get
up on our feet. Put paper and things to the side.

(Everyone rises)

Keith: First thing's just to get energized. We're just going to shake things out a little bit.
But spread out, you're going to need a lot of room to spread out here, we want a really
full circle so we want to sort of fill in these gaps here as well. So fill in.. .great. Games.
First game is Kitty Wants a Corner. All you gotta do is come right up to someone. You
know this. Some of you might know this. Kitty wants a corner. You come right up to the
person and say this. Why? Because he has to say: "Go ask my neighbor." Which means
he'll point to somebody back there somewhere, right? Look at them, point to them. Go
pick somebody out. Go ahead and point to them. You don't have to go to them, point to
them with your hand. That's where you'll (unintelligible). That's right. So you'll say,
"Go ask my neighbor."

Jordan: Go ask my neighbor.

Keith: I will proceed directly to this person to ask her. In the meantime, it is your
challenge, all of you who are not the person I am looking at to make eye contact with
someone else, say, (pointing) you to you, and change places. Before I come around and
126
take your spot. Otherwise, you're the person in the center going around, in the center
going around asking people Kitty wants a corner. Make sense?

Adrian: That makes sense.

Keith. All right, very simple. There you are. So we'll kitty wants a corner.

Stephanie: Uh, go ask my neighbor.

(Monique and Antoine switch)

Keith: Um, it's important not to cheat, so as you'll notice I'm coming right up to giving
you guys plenty of room. Right? No, you guys aren't cheating, I'm just demonstrating.
Kitty wants a corner.

Ken: Go ask my neighbor.

Keith: Oh, all right. Kitty wants a corner.

Monique: Go ask my neighbor.

Keith: All right. (Clapping) Let's keep moving. There's plenty of time and plenty of
opportunity for you to get across right.

(Lori and Jacob switch)

Keith: I'm sorry which neighbor?

Monique: (points across circle) That one.

(Adrian and Antoine switch)

Keith: Kitty wants a corner?

(Jacob and Ken switch)

Keith: Kitty wants a corner.

(Many dyads switching in the circle)

(Keith takes Monique's spot)

Keith: All right, Monique, you're in the center.

127
Monique: Ok (giggling) in the middle...

Keith: All right all right all right, spread out, don't make it easy for her.

Monique: Kitty?

Keith: Kitty wants a corner.

Monique. Kitty wants a corner.

Stephanie: Go ask my neighbor

Keith: Make sure you're clear about whose neighbor.

(Dyads switching)

Monique: Kitty wants a corner? What do I have... (giggling)

Keith: You, you. ..had the perfect opportunity because she said go ask my neighbor and
was already in motion.. .you jump into her spot and you've either cut her off or the
person who is taking her place.

Monique: Ok

Keith: All right? So spread out guys, spread out a little bit, you've made it a little, there
we go.

Monique: Kitty wants a corner.

(Pointing)

(Stephanie and Lori switch)

Monique: Kitty wants a corner.

(Dyads switching)

(Monique jumps into open spot)

Keith: All right. Stay there.

Keith: Kitty wants a corner.

Ken: Go ask my neighbor.

128
Keith: All right. Kitty wants a corner.

(Antoine and Adrian switch)

Jacob. Go ask my neighbor.

(Monique and Stephanie switch)

(Keith jumps into Stephanie's spot)

Keith: You're in.

Stephanie: Kitty wants a corner.

Keith: Go ask my neighbor

(Monique and Jacob switch)

Stephanie: Kitty wants a corner.

Jordan: (Points)

(Dyads switching)

(Stephanie jumps into Lori's spot)

Keith: Make sure you're making eye contact.

Lori: Ahhh... All right. Kitty wants a corner.

Antoine: Go ask my neighbor.

Lori: Kitty wants a corner.

(Dyads switching)

(Lori jumps into Antoine's spot, but Jacob is left in center)

(Laughing)

Jacob: Kitty wants a corner.

Ken: Go ask my neighbor.

129
Jacob: Kitty wants a corner.

Stephanie: Go ask my neighbor.

(Jordan and Adrian switch)

Jacob: Kitty wants a corner.

Lori: Go ask my neighbor.

(Dyads switch) (Jacob jumps in empty spot)

(Keith and Adrian switch)

Keith: Whoa... so who is in the middle? So.. I'll stay there. Kitty wants a corner.

Adrian: Go ask my neighbor.

Keith: Kitty wants a corner.

Jacob: Go ask my neighbor.

Keith: Kitty wants a corner.

Antoine. Go ask my neighbor.

(Dyads switching)

Keith: Kitty wants a corner.

Ken: Go ask my neighbor.

Keith: Good. Ah. So one thing you want to be really clear about is what is happening. All
right. So let me ask a question really quick, right? What is happening? What do you
notice happening?

Monique: People are moving without looking.

Keith: A LOT! Right? I've decided we're switching. (Laugh) You may not have decided
that. I've decided that. Ya... .(starting again) Kitty wants a corner.

Stephanie: Go ask my neighbor.

130
(Dyad switch - Jordan stuck in center)

Keith: Kitty wants a corner.

Jacob: Go ask my neighbor.

Keith: A ha. Up, very...(jumps into Jordan's spot)

Jordan: Kitty wants a corner.

Keith: Go ask my neighbor.

Jordan: Kitty wants a corner.

(Dyad switch)

Lori: Go ask my neighbor.

Jordan: Kitty wants a corner.

(Dyad switch)

Adrian: Go ask my neighbor.

Jordan: Kitty wants a corner.

Monique: Go ask my neighbor.

(Dyad switch. Laughing)

Jordan: Kitty wants a corner.

Jacob: Go ask my neighbor.

Jordan: Kitty wants a corner.

Monique: Go ask my neighbor

Jordan: Kitty wants a corner.

Antoine: Go ask my neighbor.

(Dyad switch)
Jordan: Kitty wants a corner.

Stephanie: Go ask my neighbor.

(Dyads switching)

Jordan: Kitty wants a corner.

Antoine: Go ask my neighbor.

(Laughing, dyads switching)

Jordan: Kitty wants a corner.

Keith: You're so nice!

Lori: (Points)

Jordan: Kitty wants a corner.

Jacob. Go ask my neighbor.

(Dyad switch - Jordan jumps in to empty spot)

Keith: (Laughing) That'd be you now. (Pointing to Adrian)

(Laughing)

Monique. Sorry about that.

Adrian: Kitty wants a corner.

Lori: Go ask my neighbor.

(Monique and Ken switch)

Adrian: Kitty wants a corner.

Jacob: Go ask my neighbor.

Adrian: Kitty wants a corner.

Antoine: Go ask my neighbor.

132
(Laughing, unintelligible)

(Adrian jumps in Antoine's spot as he attempts to move)

Keith: (Laughing) Very good!

Antoine. Kitty wants a corner.

Jordan: Go ask my neighbor.

(Stephanie and Jordan Switch)

(Antoine shrugs)

Antoine: Kitty wants a corner.

Ken: Go ask my neighbor.

(Adrian and Keith switch)

Antoine: Kitty wants a corner.

Lori: Go ask my neighbor.

Antoine: Kitty wants a corner.

(Jacob and Jordan switch, Antoine's jumps in to open spot)

Keith: Oh good! Fast!

Jordan: Kitty wants a corner.

Antoine: Go ask my neighbor.

Jordan: Kitty wants a corner.

Adrian: Go ask my neighbor.

Jordan: Kitty wants a corner.

Stephanie: Go ask my neighbor.

Jordan. Kitty wants a corner.

Jacob: Go ask my neighbor.

(Adrian and Antoine switch, Jordan jumps in open spot)

Antoine: Ooh.. .Kitty wants a corner.

Lori: Go ask my neighbor.

Antoine: Kitty wants a corner.

Keith: Go ask my neighbor.

Antoine: Kitty wants a corner.

Monique: Go ask my neighbor.

(Adrian and Jacob switch, Antoine jumps in open spot)

Jacob: Kitty wants a corner.

Keith: Go ask my neighbor.

Jacob: Kitty wants a corner.

Jordan: Go ask my neighbor.

(Stephanie and Adrian switch)

Keith. Good! Right - spread out a little bit! So keep that in mind. We're going to come to
process that just a little bit - as we go. Next thing I want you do is that you've, you've, -
we've introduced ourselves already. So let's go around with names again - Keith.

Antoine: Antoine

Adrian: Adrian

Jacob: Jacob

Monique: Monique

Lori: Lori

Jordan: Jordan

134
Stephanie: Stephanie

Ken: Ken

Keith: So, because there's two (removed for confidentiality), and, you know, they -
we're going to introduce ourselves in a slightly different way, which is, to just make a
sound and gesture that might go along with how you're feeling or somehow just
representing you in place of your name. All right. So, for example, one might be
something like, (Rubbing hand through hair with a sigh). Or whatever it is. It's just a
simple little sound and movement that represents you instead of your name. All right? So,
just trust whatever comes out. All right. (Gestures to Ken). Ken'11 do it.

Ken: (Muttering) Here's what I'm doing. (Puts hands in pockets and sighs).

Keith: So it's this, both hands in...can we do it with both hands out? Just sort of...

Ken: Sure (motioning hands out).

Keith: Op - just like that! See how it comes, how easy it comes? And what was the sound
along with that?

Ken: (Sighs and puts hands out)

Keith. (Imitates sound and gesture). Good.

Stephanie: Bop (with hand on head).

Keith: So can everyone do that just to make sure we've got that?

All: Bop (with hand on head)

Keith: So let's do those two together just to make sure we've got that.

All: (Do both sounds and gestures)

Keith: All right.

Jordan: Ugh.

Keith: What?

Jordan: Ugh!

Keith: Ugh! And there was a bit of a head turn there. Was that right?
Jordan: (Does head turn) Ugh.

Keith: All right. So here we go... so we have...

All: (All three sounds and gestures)

Keith: (Points to Lori)

Lori: (Motions inhaling between fingers)

(Laughing)

Keith: All right, so we have...

All: (Inhaling and exhaling Lori's sound and gesture)

Monique: Uh. . I'll do that.. Uhhh (Shrugging shoulders)

Keith: Are you there? Is that what it is?

Monique: No (unintelligible) it is this. Uhh (shrugging)

Keith: All right. Very good. (Motions to Jacob)

Jacob: Uh. (Takes off hat and wipes brow) Whooh...

Keith: (Repeats sound and gesture). All right.

Adrian: Om (Hands in prayer gesture).

All: (Repeat sound and gesture)

Antoine: Whoo! (With hands rising up)

All: (Repeat sound and gesture)

Keith: I will add one just for the sake of things. (Jumps into warrior- type position) OK!

All: (Repeat sound and gesture)

Keith: Good. Ok. Now, the idea is that I will say somebody's name, right, so, and then
you'll repeat your own name and say somebody else's, right? So let's just repeat the
names we just did so that everybody has a chance to see them again. So we have (does
his gesture) OK. (then gestures to next person) and ...

(Everyone goes around the room doing each person's sound and gesture)

Keith: Good. So I'm going to go with (his sound and gesture, then L's sound and
gesture).

Lori. OK, so...

Keith: And then you're going to go (gesture). So repeat your name and do somebody
else's.

Lori: All right. All right. (Her sound and gesture, Antoine's sound and gesture).

Antoine: Bop (gesture). Oh woops. (His sound and gesture, Stephanie's sound and
gesture).

Stephanie: (Her sound and gesture, Jacob's sound and gesture)

Jacob: (Keith's sound and gesture, Adrian's sound and gesture)

Adrian: Did he forget his own?

Keith: Oh yeah, he, that's right, you're (Jacob's sound and gesture)

Jacob: That's right. (His sound and gesture, Adrian's sound and gesture)

Adrian: (Adrian's sound and gesture, Jordan's sound and gesture)

Jordan: (Jordan's sound and gesture, Keith's sound and gesture)

Keith: (Keith's sound and gesture, Monique's sound and gesture)

Monique: (Monique's sound and gesture, Adrian's sound and gesture)

Adrian: (Adrian's sound and gesture, Stephanie's sound and gesture)

Stephanie: (Stephanie's sound and gesture, Ken's sound and gesture)

Ken: (Ken's sound and gesture, Lori's sound and gesture)

Lori: (Lori's sound and gesture, Antoine's sound and gesture)

Antoine: (Antoine's sound and gesture, Monique's sound and gesture)

Keith. Was it this (Ken's gesture) or (Monique's gesture)?

Antoine: (Monique's sound and gesture)

Monique. OK. Uh... (Monique's sound and gesture, Jacob's sound and gesture)

Jacob: (Jacob's sound and gesture, Stephanie's sound and gesture)

Stephanie: (Stephanie's sound and gesture, Keith's sound and gesture)

Keith: (Keith's sound and gesture, Stephanie's sound and gesture)

Stephanie: (Stephanie's sound and gesture, Antoine's sound and gesture)

Antoine: (Antoine's sound and gesture, Lori's sound and gesture)

Lori: (Lori's sound and gesture, Ken's sound and gesture)

Ken: (Ken's sound and gesture, Jacob's sound and gesture)

Jacob: (Jacob's sound and gesture, Keith's sound and gesture)

Keith: Op. Sorry. (Keith's sound and gesture, Antoine's sound and gesture)

Antoine: (Antoine's sound and gesture, Adrian's sound and gesture)

Adrian: (Adrian's sound and gesture, Antoine's sound and Keith's gesture)

Antoine: (Antoine's sound and gesture, Jordan's sound and gesture). I did, whoo (head to
side).

Keith: Oh, there you go (motioning to Jordan)

Antoine: It didn't translate well.

Jordan: (Jordan's sound and gesture, Jacob's sound and gesture)

Jacob: (Jacob's sound and gesture, Lori's sound and gesture)

Lori: (Lori's sound and gesture, Stephanie's sound and gesture)

Stephanie: (Stephanie's sound and gesture, Monique's sound and gesture)

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Monique: (Monique's sound and gesture, Antoine's sound and gesture)

Antoine: (Antoine's sound and gesture, Ken's sound and gesture)

Ken: (Ken's sound and gesture, Jordan's sound and gesture)

Keith: Good. Now let's actually try to really pick up your pace on it now and see how
fast we can actually pass it around. All right? (Points to Jordan)

Jordan: (Jordan's sound and gesture, Stephanie's sound and gesture)

Stephanie: (Stephanie's sound and gesture, Adrian's sound and gesture)

Adrian: (Adrian's sound and gesture, Ken's sound and gesture)

Ken: (Ken's sound and gesture, Keith's sound and gesture)

Keith: (Keith's sound and gesture, Ken's sound and gesture)

(pauses)

Keith: (Repeats Ken's sound and gesture)

Ken: (Ken's sound and gesture, Lori's sound and gesture)

Lori: (Lori's sound and gesture, Antoine's sound and gesture)

Antoine: (Antoine's sound and gesture, Monique's sound and gesture)

Monique: (Monique's sound and gesture, Stephanie's sound and gesture)

Stephanie: (Stephanie's sound and gesture, Lori's sound and gesture)

Lori: (Lori's sound and gesture, Jordan's sound and gesture)

Jordan: (Jordan's sound and gesture, Lori's sound and gesture)

Lori: Ok. (Lori's sound and gesture, Adrian's sound and gesture)

Adrian: (Adrian's sound and gesture, Stephanie's sound and gesture)

Stephanie: (Stephanie's sound and gesture, Jordan's sound and gesture)

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Jordan. (Jordan's sound and gesture, Keith's sound and gesture)

Keith: (Keith's sound and gesture, Adrian's sound and gesture)

Adrian: (Adrian's sound and gesture, Keith's sound and gesture)

Keith: (Keith's sound and gesture, Jacob's sound and gesture)

Jacob. (Jacob's sound and gesture, Jordan's sound and gesture)

Jordan: (Jordan's sound and gesture, Adrian's sound and gesture)

Adrian: (Adrian's sound and gesture, Antoine's sound and gesture)

Antoine: (Antoine's sound and gesture, Lori's sound and gesture)

Lori. (Monique's sound and gesture). Oh. (Lori's sound and gesture, Monique's sound
and gesture)

Monique: (Monique's sound and gesture, Stephanie's sound and gesture)

Stephanie: (Stephanie's sound and gesture, Antoine's sound and gesture)

Antoine. (Antoine's sound and gesture)

Keith: Good. Everybody sit down for a second. Just tell me what you observed about just
those two. What do you observe about just those two? Those first two.

Lori. Those two exercises?

Keith: Just those first two.

Jordan: The first one there was a lot of

Keith: (Overlap) What was going on?

Jordan: a lot of eye con... not only eye contact, but you had to, sort of, look for facial
expressions, like raising eye brows or I guess some sort of (unintelligible) initiate to go...

Keith: Mm hmmm. Mm hmmm.

Lori: Physicality in both of them.

Keith: Ok. What about -

Adrian: And I noticed that the circle was getting smaller and smaller in the first game. No
matter how often you told us to spread apart, we kept getting closer and closer.

Keith: Why is that?

Adrian: I don't know.

Keith: No? Good. Who knows?

Jacob: When we got to the other spot we got (motions with his hands a circle)

Keith: Ah ha. There is that sense of all of the (motions smaller circle with hands) old
habit. Congregates toward it.

Antoine: The mastery of the game. All of the sudden people were getting more hesitant to
take it seriously, like, at first it was chaotic, and then the group (unintelligible).

Keith: OK, what about the second one as well. What did you notice in that?

Monique: I think it was my energy, I did notice that I would find the (Stephanie's sound
and gesture) more quickly.

Ken. I got more and more organized with the second one. But with the first one, it got
more chaotic. (?)

K: Ok.

Jordan: I was going to say the different types of (unintelligible) we were using in the
beginning (unintelligible) I guess the most memorable ones. There was more variety in
the end to less variety in the end.

Keith: I noticed, uh, laughter. When you'd hear, when the gesture would come up. I also
noticed a (sigh) if someone was repeated. Huh? The ones that suddenly, like you said
(motioning to Jordan), became familiar. How about when it dropped, when it wasn't
picked up on right away? Anything about that dynamic?

Lori: Well, social pressure. It's because the group is waiting for that other person. So
that, uh...

Antoine: The focus changes...

Lori: The focus changes and everyone is waiting.

Keith: And what, what sometimes contributes to that drop?

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Lori: Inattention on the person's part, or, um, inner distractions, or self-focus, or some
other kind of - you're not being - you're not listening to someone else.

Keith: Or they didn't say you're name the way you're -

Jordan: Your interpretation...

Keith: Right. They didn't really say your name. My name's Fred and you said Fed.
(Laughs). All right, so we had one (Ken's sound and gesture) with different things, so
you could say we're picking up on different things. And we're going to take it into
another (?) again, then in terms of just attunement and getting in touch with each other.
All right? So what I want to do it just pair off with somebody. Just just find a way to pair
off and we'll, and if there's loose and we'll just find it. Good. You good? Good. What I
want you to do is just.. give yourself your own little bit of space. That's all. Just give
yourself your own little bit of space. All right? And you can stay wherever you are, floor,
or seating. Choose kind of an A and B between you. Who is A and who is B?

(Pairs deciding this between themselves)

Keith: All right. So - what we're going to do is, and if one person could just come out
here for a second just to demo with me for a minute.

(Lori goes to center)

Keith: There you go. Fine. Very good. So what we're going to do is just face each other
and I'm going to give you a chance to just place your hand just gently underneath mine.
And it can be this way (face down) this way (face up) or however you want to do it. K?
So what we're going to do is, all I'm going to do is start to ask you to follow me just by
where I move my hand. We're just keeping just that amount of space. K. So you're just
going to try and maintain - that's right - maintain close no matter where I go.

Lori: O h - O K .

Keith. All right? So no matter where I go I want you to try and follow it. K? And then I'll
call switch, which means now it's me following her.

Lori. Oh - OK - cool. I like that.

(Laughter)

Keith: All right - here we go. All right. So. But notice. Work with this - you've got all
different sorts of planes that you can work at. I've taken it back over again - but - right?
So you can go up, down, and around from there. And you can start on the floor.
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(Laughter)

Keith: But that's ok. Because that will teach you guys to - how do we get up together?
All right? That's fine.

Monique: You don't want a challenge?

Keith: (Laughter)

Monique: I'm just kidding.

Keith: But I would try to see how much you guys can explore. And yet - try to also
maintain your awareness of other groups so you're not just leading your partner into the
next group over. All right - so try to do it - you won't need too much talking. But, yeah,
that's all right. You can be touching slightly, or, if you're going to try and go with feeling
each other's aura's - fine.

(Laughter)

Keith: But you still have to keep that space as a lead. There you go. Go. Go for it.

(Dyads exploring (mirrors))

Lori: Like a mirror.

Keith: See how you connect. If you're going fast, try going at a slower pace. If you've
been experimenting with one plane, try a different plane... horizontal, vertical plane. OK.

Adrian: This is kind of different isn't it ...

Keith: Switch!

(Giggles)

(Mumbling between partners)

Keith: Good. Now keep going. Take the verbal completely out of there. Just go with the
hands and sensing each other.
Switch... switch... switch... switch... .switch... switch... .switch... switch
... switch... switch.. good. Come around into a circle. Good. All right. Good. Who really
wants to lead... anyone... in particular?

Antoine. I'll lead.

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Keith: All right. Very good. So - stay - you can be from where you are. Reaching a hand
out just slightly - so someone can touch underneath you either to either side. Good, you
reach to the next person behind you. There you go, and all the way around as it goes. Or -
very good. Excellent. Next person there. There you go. All right. Now. It's up to you
now, actually - actually you don't have to touch at the end. You're ok. Now you're ok
you don't have to touch his other hand. You're good. All right. Now you can start to lead
it.

(Participants are touching hands in a worm-like shape moving around the room)

(Giggles)

Keith: Now you've got a much bigger partner, but see what you can do to explore there.
See how well - they're you go.

(Moving)

(Laughter)

Keith: Now try your pace, try to alter your pace or the plane that you're working on.

Keith: Antoine, want you to try working at a really slow pace. K? Really slow. Really
slow and deliberate. And try to work with a difference in what plane you're working on.
What vertically you're working on, how high, how...

Antoine: Ooohhh...

Keith: See what I'm saying, there we go. Don't need 747.

(Laughter)

Keith: And whatever he's doing with your hands you try to mirror it to the next person.
That's it. Don't watch him, just feel it. If it doesn't tear you all the way down, it's just
something to know.

(Muttering, laughter)

Keith: Good. Stop. Find your original partners. A and B, ok? All right now. A and B, um,
A you're going to lead B. B you're going to have your eyes closed. OK? Make any
adaptations you feel are necessary to protect B. All right? B, you don't have to make any
adaptations because the adaptations are A's responsibility. All right? So, try to avoid your
contact with other groups or other things around you. Your main job, A, is to lead B
around and keep them safe. Actually, your main job is to keep them safe and lead them
144
around. When I call switch, when I call switch, exactly from where you are, you will stop
and you will immediately switch whose eyes are closed, right? Switch!

(Giggles and movement)

Keith: Switch! There you go. Watch. . . where they are. . . switch. Switch. Switch. Switch.
Stop. Good, come around the circle. All right, tell me about it.

Stephanie: That was fun.

(Laughter)

Jacob: First it was a little hard for me having my eyes closed. I don't know, like I might
hit a wall or something. Even though I knew it wasn't going to happen, I held my head
down just in case.

Antoine: Same thing was awesome, especially like the leader of that - to be able to
manipulate like this larger train.. .you know (Laughter). It was just, it was interesting to
see if like if you would just try to think of different variations of like.. what? I don't want
to kill people. So it was interesting to just sort of like really (moving arms) moving your
arms and gesturing and having other people just follow.

Keith: Ok. Yeah?

Lori: I think it's interesting and it explores a lot of trust issues between two people and,
like, it felt good for me to be able to, like, just close my eyes and let her lead me around.
And then the other way around. Like it felt like a relief to open up to .. like on both sides
it kind of was an interesting experience.

Monique: Yeah. I thought it felt like it was a trust activity. And, although I guess I
pretended like I trusted her, in my mind I could see, which didn't - says like, although
I'm (unintelligible) doing this with my eyes close, I was like, oh I can see...

Antoine. Yeah, you prepare yourself...

Monique. I was pretending that I could see where she was leading me.

Keith: OK. So - in a way, you invented a narrative of what you were doing, right? Which
is what when I do drama is what I'm concerned and we come up with it all the time,
right? You were visualizing a kind of narrative or journey. You could see it in your
mind's eye happen. Did anybody go anywhere else narratively, go anywhere else
imaginatively while this was happening? Anything else pop up.

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Stephanie: I did. I actually remember - because I took modern dance in undergrad and so
we did a lot of things with your eyes closed and I was transported back to undergrad and
actually keeping my eyes closed and being led by another dancer.

Antoine: I felt the closeness in terms of the touching with another person. I mean it's a
really kind of intimate activity (laugh) that we're doing.. but to, um, at one point you
know like I started spinning him around you know and just kind of just like almost you're
thinking I'm in the ballet (giggle)... you know...

Keith. Yeah. But that's it exactly. That's like the next narrative piece is now I'm in the
ballet. Am I swimming? Am I. .. feel like there's wind around me... or what are the next
imaginative images that come around or the next associations that come to mind. Um,
we're going to process this a little more, but first, for right now go and find your original
partners. Go up to a space, go with your original partners to a space. And I'm going to let
you lead a little bit, but I want you to drop in a little narrative. Which means I just want
you to go for your blind partner, because this is going to be a blind thing again. I want
you to feel free to try and paint a picture for them of where they are going. Are they
going through a tunnel? Are they going over stones? Paint them a picture of what your
journey is. OK? Again, your first job is now to keep them safe. Your second job is now to
take them on a journey. OK? Make sense? So, uh, B lead A to start with.

(Muttering)

Keith: And then when I call switch...

(Each dyad is moving around, leader utilizing both touch and verbal cues)

Keith: Again try different levels, try going backwards rather than forwards, try different
directions, but keep telling them where they are going.

(Stories heard within the dyads)

Keith: Switch, switch. Don't re-switch, I'm just repeating. A lead B.

(Stories and movement)

Keith: A's, all of you try and narrate some experience of going over something. Some
experience of having to go over something.

(Stories and movement)

Keith: Good. Some of you are already there. But make sure you try and get the
experience of going under something. Going under something or you're painting in the
journal .. painting the picture. Now we're doing the under.
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(Stories and movement)

Keith. You have to go around something now. Make the picture of around. Go around.

(Stories and movement)

Keith: Now the experience of going through. Not something that's obviously not painful
to grow through. But something safe to go through. We go through things all the time, so
what can you take them through.

(Stories and movement)

Keith: Good. Stop. If you're not all of the way finished with your journey, take a moment
to finish it. Or a few steps, if you need to. All right good. Just checking. I didn't want to
leave anybody halfway home. All right. Switch! And B lead A, over, under, around,
through. OK, go.

Monique. New story or same story.

Keith: New story. Find a new story. Unless your story involves the same path and
something's different about it. Good, so we have to go over something, have to go under
something....

(Stories and movement)

Keith: All right, now, yeah, keep going, if we're getting to through, that's fine. Keep your
eyes closed. Now here's the thing we're going to have to do. You're going to have to find
a way now, keep your eyes closed, careful. I mean whoever's got their eyes closed, don't
forget where we are now. Keep your eyes closed whoever has them closed, sorry. And,
what you're going to need to do now is trade partners, somehow, but you're going to
have to make this - try to make this transition work for the person who has their eyes
closed. You're going to have to have to actually switch who you're leading, so you're
going to have to actually trade off this poor person to someone else. And now transitions
are always difficult.

Unknown student: They are.

(Laughter)

Keith: Take your time to do this.

(Stories overlapping)

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(Laughter)

Keith: Just for this one go without the story, just lead without the story for now. All
right? All right? Good. Stop. Switch.

(Laughter and stories and movement)

Keith: Take care of your partner. Take care of your partner. Good. If you want to,
reintroduce some narrative...as you feel it. Imagine you're going to...now you're going
to get to a point where you're going need to trade this partner with somebody else. It's
always the same person trading.

(Stories, movement, and laughter)

Keith: Find a way to trade, you're going to have to find somebody else that you're going
to actually transition somebody brand new to...

(Laughter and stories)

Keith: Good. Let your narrative go for a second. Let it go. K. All right? That's all right?
Nice... I got you.

(Laughter, stories, movement)

Keith: Stop. Come on over to the center. You guys find a way to just relax and say
goodbye to the last person you were with. If you need to open your eyes and say
goodbye. Good. Go ahead and open your eyes. You can open your eyes. There you go.
All right? Good. Come on around the circle. Tell me a little bit more. There were a lot of
dynamics going on there. Tell me about some of them.

Lori: Hard to transition once you trust somebody and then I'm like oh god a new partner,
what?

Jacob: I find myself relying on the narrative to sort of distract from the whole trust issue.

Keith. Ok. What does that tell you? What kind of information does that give you? What
do you think about in terms of that whole transition when you had to switch that person
to somebody else and you were so comfortable working with that other person?

Adrian: Didn't bother me. Cuz he (Antoine) went so fast and I was used to that and
everybody else was like really slow, so it was very easy for me to transition off to
another...

Keith: Uhhuh...
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Adrian: Yeah..

Antoine: Switching from who I was with to Lori was like a crazy experience cuz I felt
like I was being launched and pulled in this other direction, you know, where the other
one had been a lot calmer, and so ...

Keith: But (laughter).. .good.. .that was interesting. It was an interesting dynamic there
where it was like you took me to a war zone so here I'm going to... .(motions moving
back)... (laughter) You say (unintelligible) - if that's your narrative, here - try this!
(Laughter)

Antoine: Nietzsche's syphilis riddled mind.

Keith. Oh nice! (Laughter) Other - what kind ofjourneys did we come up with other than
Nietzsche's syphilis riddled mind?

Ken: You know, my kind of, although the movement changed moreso than the one I did
before from really fast to the zigzag thing we had going, it was always somewhere
mutual... (unintelligible)... a prairie or there was a river or a creek...

Antoine: He did the city for me, because you were like, "Now we're on the El" and I
could see the El, especially he did one where he was like, "Now we're going through a
turnstile," and I really could visually see myself go through a turnstile... in my mind. Like
I held an image for that.

Keith: What were some of elements were successful? They weren't, they weren't
intellectually amusing necessarily, but for a moment you felt like you were going on that
journey with a person.

Adrian: I was chased by a dog. (Laughter) I ran. (Laughter)

Jacob: He had me chased by a cougar.

Keith: A cougar! (Laughter)

Lori: I felt like I was in the Bosnian war zone...

(Overlapping discussion)

Stephanie: Well, I don't know, I was just walking through some nature - a lot, just a lot
of the steps, like now we're going through here - just a lot - 1 really had to step, or I
really had to do what I had to do in order to get through it. Like, it was right there in front
of me so I gotta make this move.
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Ken: (Unintelligible)

Keith: Were there any moments that made it harder or more difficult to reestablish - there
are all kinds of things you can think about in terms of client transition, we have to
transition from some person to another person.

Stephanie: Well I walked him into a wall. I imagine that was interesting - (Laughter) -1
was feeling bad about that.

Antoine: It's almost like I was thinking - (unintelligible) - and working with a client -
you could be working with a client particularly and have a certain way of doing things
and you switch and they turn to another person and just like before - 1 was being pulled
and led in this specific way where with him it was a very different type of journey, you
know, so - going to me was going to a Kosovo war zone vs. a peaceful nature walk.
(Laughter) We had different orientations would be a metaphor for it.

Jordan: This is actually really interesting.. .before I came here, we did work with - every
night of the week - with kids who were working with (unintelligible) - unfortunately had
to switch for various reasons beyond our control which people didn't always consider the
affect it would have on the child and it was underestimated with them being homeless
there is definitely a trust issue you build up with them (unintelligible) and then you
switch to someone brand new and the (unintelligible) trust and understanding and
everything else that might have clicked, and at least where I came from, you can't
underestimate (unintelligible).. .there is something there that needs to be appreciated.

Keith: Was there, did anyone attempt to pick up on the narrative that was before you?

Lori: What do you mean by that?

Jordan: (Overlapping) What do you .. narrative?

Keith: For example, there was no rule not to when you traded.. Listeners say, "Where
have you been; where are you going? And, where have you been? Where are you going?"

Monique. I think I did, because the interviewer said I was a frog (??), so I think I then
said I was an albino frog and he had to go on a zig zag cuz frogs sometimes go
(unintelligible).

Keith: So you were introduced that way so it's this idea of the transition. So that if we go
for, I know you've been in that nature trail... so - this part of the nature trail goes through
this really rough area.. but it's like.. but, the question, how would that have been?
Would there been more of a transition that takes you.. There was a moment where I think
we did a switch where two blinds ended up together.
150
Lori: That, that was totally like, that was me - 1 figured that would happen. I kind of
planned it because I thought it was funny.

Stephanie: I kept trying to grab Antoine's hand.

Lori. I just wanted to put them together cuz they both had their eyes closed...

Keith: So how did that go?

Jacob: Well, we both sort of stood there.

Antoine: Waiting for the other to do something...

Jacob: And then we got across the room and he said, "Wait, one of us has our eyes open,
right?" (Laughter)

Keith: So you were actually pretty good at just with neither of you... cuz we were
watching. We weren't going to let you walk out a window. (Laughter) No, no, we were
watching from here.
So you were moving and then at a certain point, I think it was you who opened your eyes
or did you both do it.

Antoine: No, he opened his eyes.

Keith: All right. But you decided, "Oh, so I'm going to lead." So you just made a
decision that you were just going to...

Jacob: It was more from, um, putting together his reaction just with sound. And linking
up with mine, which was just, just that we're both standing there, non-directional, you
know, and there was something about that when I heard his laugh and I'm like, no wait,
maybe that's what happened.

Keith: Ahh... What was it like for you to have two people with eyes open?

Lori: It was - 1 found it very enlightening. I like - 1 liked to have my eyes open just to see
how people react. I mean it's interesting how for - they just for awhile say "what's going
on?" And...

Keith: How were the two journeys? You did journey with eyes open and then one eyes
closed?

Lori: Um, we had very short journeys eyes open.

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Stephanie: Yeah, it really was, because I was like, "Oh, look, her eyes are open," - I'll
close mine.

Keith: Ahhh. ..

Lori: She actually, yeah, she closed her eyes.

Stephanie: Yeah (overlapping)

Lori: And in the end (unintelligible).

Keith: Cool. Rule banks count. Right? One of us must be (laughter) OK. But it was
good... experience to say half of it, exactly, find out what's the next thing with each other.
Go on. Ok cool. Talk to me now about some of the emotions that came up during all of
this so far, different emotions that have come u p - also I'm going to widen the spectrum
and say emotions that have come up in all of your training and experiences. Just different
emotions. You had (unintelligible) - it's a lot of emotions.

Lori: It's a lot of emotions.

Keith: So especially - but ones - and especially ones that you would be ok with just sort
of giving some (unintelligible) to - just the emotions themselves.

Ken: Uncertainty, anxiety...

Keith: Uncertainty, anxiety. Anyone. . . ok. Another emotion?

Stephanie: Anger, frustration.

Antoine: For me it's defensiveness.

Keith: Defensiveness.

Antoine: Being prepared for like, you know, like someone was saying earlier, like I was
really going to not get to something so I'm like...

Keith: (Overlapping) There's fear in there.

Antoine: .. brace for that, you know, and I'm really waiting for that collision.

Lori: There was a level of uncomfort for me - that's kind of why I'm really interested in
this whole kind of improv and acting and the intersection in psychology because I - 1
wonder - 1 think that people go through their lives acting everyday. Right now - we're all
acting - 1 mean in a sense. And so I wonder how we become more authentic through
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playing someone else or, you know, imagining yourself going somewhere - 1 just - I'm
trying to figure out all in my head - like who, where is yourself when you're constantly
playing these roles.

Antoine: But, are you acting right now?

Lori: That's the thing, you know what I mean, I don't even know where - that's the thing,
like I, this is just...

Keith: Right, and I've had this same discussion with someone who thought that, when I
said acting, they thought I was referring to being dishonest, instead of the idea of playing
certain roles in certain social situations. And saying, "well, I'm always me." The person I
was talking to was like, "No, no, I'm always me, I'm always the same wherever I go,
whatever I do, I'm always the same." Well, OK! That itself is a choice. Um...

Lori: It's just interesting. Yeah, I know, sometimes I'm uncomfortable with trying to -
yeah - teasing that out - when it's you, and when it's not.

Keith: And so obviously, you're going get to the idea of some of what this touches on -
and what it's supposed to open up in terms of that comfort zone and what you're most
familiar with. But let me touch on these emotions now, so what I've got - um - I've got -
is anybody else connected with anger? Because I wanted to hear if there was an anger
echo for anybody? You had an anger? All right...

Antoine: I felt close, personalness - especially like I guess when I switched to Lori who
I'm more comfortable with...

Keith: Well, I would put fear into defensiveness - so there could be anger, there could be
something else in there as well. I don't know...

Antoine: Yeah, but also just like being when I was leading her I felt like more, cuz I
know her personally, so it felt a little more personal hand-holding thing, probably, and it
felt like a closeness shared, because we were, I don't know, we were just more as one
physical set-up that was different for me that I experienced this whole thing...

Jordan: Yeah I was more like (unintelligible) between assumptions and expectations. I
expected that no one was going to (unintelligible) because I assumed that everyone else
here (unintelligible) was not doing it. (Unintelligible) People here you don't know them,
but we're all responsible because of what we are doing. So I've got sort of huge problems
- 1 expect everything to go wrong. What could possibly go wrong -

Keith. In the course through your year what other emotions have you experienced? Just
through the course of your training. You were - just the last training experience you
talked to me about with the kids - different emotions that came up.
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Jordan: Out of frustration and as an outsider because I saw what was happening and I saw
what was going on. And best practices (unintelligible) just going by the wayside and not
being - and just basically being told yeah we see it but don't worry about it.

Keith: Uh... let me recap some of the emotions that I've heard. Which is discomfort,
defensiveness, which I've kind of put in a little fear in there cuz there usually,
instinctively I think there is some fear involved in that at work -

Lori: Absolutely.

Keith: Um.. I'm hearing frustration and anger. And I'm pairing some things for myself.
You said anger before, is that right?

Monique: Mm hmmm.

Keith . Yeah, sure. So - um, and then, what are some of the other ones?

Jacob: Anxiety.

Keith: Anxiety. Which is another good one there, but it's a little different -

Adrian: For me, it was just, coming into here, it was just kind of, letting go of any kind of
expectations. Anything like how I'm supposed to act - how - what we're supposed to do
and just kind of doing whatever you're supposed to do. Like when I was being led
around, just blanking everything out and just listening. And just being in it like 100% -
just trying -

Keith: How does that feel? When you said that - how does that feel.

Adrian: At first, anxiety, because you feel anxious about bumping into something. And
then it's really really relaxing because like I'm being led around and no matter where he
led me or whoever led me I didn't bump into anybody so I just kind of went wherever.

Keith: Uh, and then I'm just trying to remember what I heard from you. Just emotions.

Stephanie: I said anger and frustration.

Keith: Oh the anger and frustration. Oh OK.

Monique: I felt all of these emotions...

Keith: (Laugh) Well, which one for you that really comes up.

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Monique: Most? Um, I guess I would say (unintelligible) I would say the shame and
embarrassment.

Keith: Ok. Yeah, that sort of shame and embarrassment kind of thing.

Monique: Yeah, I couldn't pretend because I had the training because you're expected to
play a certain role, but I didn't feel that certain role. So then that to me is kind of like
uncomfortable but it's also kind of shameful because people I think who know what they
are doing they can tell when you're playing. You're playing the therapist until you get it.
Right?

Keith: Gotcha. And then...

Ken: I said uncertainty.

Keith: Uncertainty. Got it. Let me - I'm going to pair you up. But we're going to do
another exercise with this. K? I'm going to sort of give voices to this. I'm going to put
anxiety kind of together here. All right? And let anger be together here as well. And then
we're going to put sort of our defensiveness - sort of this fear here. And then I'm going
to put the uncertainty with the sort of shame part because I just want to put together the
little closeness of - we're getting sort of to this mad, bad, scared, uncertain - and this is
just - this is all a little bit scared, but in a different way. All right? So it's also just a little
bit - there is a bit of positive emotion mixed into this one. So it's both anxious but it's
getting a bit liberated at the same time. All right? So it's that mix. What I want you to do
is.. we're going to go ahead and make a sort of a semi-circle... sort of thing... so... stand
next to your partner. But we'll be standing for this. OK? The... let's see... sort of semi-
circle so why don't you guys find a way to join your circle up a little bit so it's almost
like you'd be facing an audience. Facing out. All of you facing out. So we can bring you
around this way. There we go. There we go. There we are. So we're paired here, paired
here, paired here, paired here. Great. All right. So.. good. So this is where our audience
is going to be here as we go. So what I want to do is - 1 want you to think just the two of
you now making the sound of the emotions that you had was? Generally we had angry,
frustrated, that body of guilt. I want you to think about not being verbal, but just making
sound. What does that sound like? Actually, the whole group, what do you think that that
sounds like? Everybody all together - what does that sound like? Just make the sound of
anger, the sound of frustration.

(Keith stands in front of group as a conductor)

Group: (Sounds)

Keith: Just make a sound.

Group. (Sounds)
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Keith: Good. Try to vocalize it. Make like a vocal sound with it.

Group. (Sounds)

Keith: Good. Give me a long sound.

Group: (Sound)

Keith: Good. Give me a - now take that same sound and we're going to make it very
staccato, very short.

Group:(Sound)

Keith: What we're on our way to is we're going to go ahead and create a whole
symphony with these emotions. So give them full voice. All right? So first we have, all
together, anger.

Group:(Sound)

Keith. Make it short.

Group:(Sound)

Keith. And then get loud.

Group. (Sound)

Keith: And get grumbles (unintelligible). So just for you two, what does that sound like?

Jordan and Stephanie: (Sound)

Keith: Good. Stay with it. Very good. Now we have the next one which is that sense of
anxiousness. Anxiousness with a little bit of excited. Everybody, what does that sound
like? Everybody altogether.

Group: (Sound)

Keith: What does that sound like, right? That's the - try to put your body - some people
are trying to put your body what it's like to do that. What's it like again?

Group:(Sound)

Keith: Good. One more. Try to extend - try to extend that note.
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Group:(Sound)

Keith: Anxious-excited kind of...Make it short.

Group:(Sound)

Keith: Stretch it out again. Make it louder.

Group: (Sound) (Sound continues through all directions)

Keith: Very good. Just you guys. So it goes.

Adrian and Jacob: (Sounds)

Keith: (Laughter) Good. Now. Take it now - you guys - it's kind of uncertain, a little bit
ashamed. You know that kind of stuff - not sure I know how to do this.. that kind of
feeling. So how does that sound everybody?

Group. (Sounds)

Keith: Good. Amplify that. Take that little thing that you're doing - what I heard you
doing - amplify it a little bit. Exaggerate it.

Group: (Sounds)

Keith. (Unintelligible)

Group: (Sounds)

Keith: Do exactly that - but do it so the words lose all of their sense so that it's like
"stupid me" ye ye ye.. Ye ye ye - that's it. Now let me hear it again. Even louder.

Group: (Sounds)

Keith: That's it. Loud.

Group: (Sounds)

Keith. Short

Group: (Sounds)

Keith: Good. So just you two now...

157
Monique and Ken: (Sounds)

Keith: Short.

Monique and Ken: (Sounds)

Keith: Extended.

Monique and Ken: (Sounds)

Keith. Good. Wow. So this last one right - it's that kind of a little bit fearful,
defensive...all right? All right, very good, and perfect. What's it sound like?

Group. (Sounds)

Keith: Extend that note, take whatever you are doing and exaggerate it a little bit.

Group. (Sounds)

Keith: Staccato. Good. Just you guys.

Antoine and Lori: (Sounds)

Keith: Good good good. Now we're going to put it all together. All right? So - you'll
have a chance to play this as a full symphony, right? So if I come to you, I may come up
to different sections of the symphony and bring it up, down, stretch it out - right? All
right. So - (kneeling) - what I'm going to ask you to do now, is first, I will ask you to
don your instruments. Which is - 1 want you to take your hand and pass it in front of your
face. It's like a kabuki mask. We have - you just have a normal expression, but the
minute the hand passes in front your face - try to make the mask of whatever you think
that emotion is. All right? So everyone don your emotional instruments. All right, so each
one of us - so we have, to recap, we have (motioning to one pair) all right, (motioning to
another pair) all right, (motioning to another pair), ok, (motioning to the last pair) good.
So ready, so I'm just going to count like a conductor...

Group: (Symphony of emotional sounds, Keith conducting)

Keith: Good (laugh). So this is emotional symphony. Does anyone else want to conduct?
The symphony.. .you just saw me conducting it. I will take your place if you wish to step
out and actually conduct rather than just be in the symphony.

Stephanie: I'll conduct.

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Keith: All right. Great! (Stephanie kneels in front of the group)

Stephanie: I'll count to eight.

(Laughter)

Keith: Excellent. So you keep a tap with your foot if you want to keep that 8-count.

(Stephanie begins to conduct)

Group : (Symphony of emotional sounds, Stephanie conducting)

(As it ends, laughter)

Keith: Who else wants to conduct. Just checking. Cool. All right. So - what I want to do
briefly is - is anyone else - 1 wanna say - who wants to be an audience for this? Who
wants to be an audience for this or who is OK with just - turn to your partner in emotion
and just make a decision about who is going to actually watch and who is going to just do
it.

(Muttering and laughter)

Keith: You can always switch. This is a chance for you to sort of just watch it happen. All
right?

(Muttering)

Keith: All right. So now, get closer together. Now move closer together. Get close
together. Of people who are here, including yourself, is there anyone else here who wants
to conduct before I conduct this group - this foursome? Just checking, ok, great, so -
same emotions but we have a chance now to play a combo so we'll move back and forth.
If I go like this it means I want you to look at each other and do it right at each other, ok?
Ok? All right. So. (Sigh) For the emotional symphony will you please don your
emotional masks. (Group members raise hand over face)

Group: (Emotional symphony sounds)

(Laughter and sounds continuous)

(Sounds of emotional symphony)

(At end, laughter and clapping from audience members)

159
Keith: Trade places. Think for the moment audience, before you start doing it, if your
mind creates a story out of that...

Jordan: Yeah.. .flight of the bumble bee.

Keith: Oh yeah? So.. .flight of the bumble bee? Did anyone else think - or any of you
guys up there experiencing it - did there seem to be any kind of story emerging in that?
You could say you know what that felt like, that felt like -

Adrian: There was definitely us and them. We were together and she was barking at us.
(overlapping, unintelligible)

Keith: Did a setting or a location or character suggest - begin to suggest themselves at

all.

Adrian: Just that she was kind of an antagonist.

Keith: Good. So she was an antagonist. Anything in your mind that would say, "hmm, if I
were to imagine this antagonist, this antagonist would be an a..." Or where this
antagonist would be.

Jordan: Yankee game.

Keith: Yankee game. OK.

Jordan: Hurray! I'm for the other team! (Laughter)

Keith: I got an office. That's where my mind went - office. But it could have gone to
working with children -whatever it is - all right.. But if you're not going to go there -
we've created with kids - entire structures and narratives just beginning from an
emotional symphony. What they imagine, "oh yeah - you were doing this and you were
doing that" and then something else, all right? So we're going to let you guys come
together a little closer. There you go. All right. Now.. Can you come here (pointing to Ju
to move spots)

(Keith kneeling)

Keith: All right. All right. Would you please don your emotional instruments?

(Group members run hand over face)

(Sound/emotional symphony)

(Laughter)
160
(Sounds/emotional symphony)

(Directed by conductor to do sounds toward one another)

Keith: All right. So...

(Clapping from audience)

Keith. What is that... what is that - what did it seem like? Was there any narrative created
for you?

Adrian: For me there was... it felt like there was a conflict between the person who - was
- conflict was initiated on a building for (unintelligible) - it seemed like there was some
kind of - like they were trying to work together to solve something.

Keith: Uh huh. K. So they were trying to work together. Did anyone have different parts
in the conflict, or in the solution to it?

Adrian: It seemed like she was kind of the one going back and forth as the liaison
between the other people.

Antoine: Yeah, it felt like he was trying to say something to me but I was turned away
and I wasn't (?) . . . so I was just like sitting there just like staring off ignoring him while he
making sounds at me. But I would communicate with her cuz she seemed more like the
gentle voice. (Laughter)

Keith. Ok. You were up ...

Jacob: yeah, I was up this high and I felt like I wanted to interact more with them.

Keith: Ah... with both of them? Or with anyone in particular?

Jacob: More with Antoine I think.

Keith. Uh huh.

Jacob: Yeah, he seemed to be the troubled one...

Keith: Uh huh. So - what was it like to direct - to conduct?

Stephanie: Oh. Great fun. It's - yeah - it's a lot of fun. I mean - 1 didn't think of it as
anything deeper than that - it's just a lot of fun.

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Keith: Uh huh.. No... and you know, you just make the connections. Obviously we're not
doing a therapy session.. we're just thinking about - what are the connections
here... what are the things - you know obviously things will come up and you will
process them in a different way, but - um - obviously, what role does the conductor play
in being able to - whether in a narrative or a (unintelligible) - is it - do I pick the
narrative or am I just seeing one that's already there and emphasizing it more?

Lori: I think you're - the interaction and their reaction is creating the narrative. And
depending on who is viewing it - you know - he saw a different narrative emerged for
him than maybe say Antoine who was actually inside of it - or for you who was
conducting it.

Keith. Mm hmm... and then we share that narrative.

Lori: Yeah.

Keith: And we find out what we have in common - what's the subtext. So um -
(unintelligible) - does anyone else need to do that - anybody else need to take care of
that - water, bathroom? Anything like that - just checking. So what we want to go into
then - is - uh - well...

Abby: It is 8:25, we have (unintelligible)

Keith: Ok good good. So we have a lot of time to process as well.

Abby: We have about 55 minutes.

Keith: Cool. So what we'll do is we'll try a couple things with, uh, we're just going to
divide this in half exactly as we are now. We're just going to divide in half. And I need
basically what I need is for half of you to be market researchers - and the other half are
going to stay and be the people who are researched about. All right. So one of you are
going to be interviewers and the other interviewees. OK. So - any feeling from the group
about which you want to be?

Monique: Interviewee.

Keith: You'd like to be an interviewee?

Jordan: I would agree.

Keith: (Laughs) My interviewers (unintelligible).. .which means what I'm going to ask
you to do is a.. .just a second... is step outside. You can be with them out in the
soundproof lobby.

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Abby: OK

Keith: Uh... and just think about - all you're doing is doing a little market research.
You're going to find out what psychology students prefer - what do they like, what don't
they like. That kind of thing. Just basic as if they were any marketing group and ask those
kinds of questions.

Lori: So you want to sell them something?

Keith: Well - you're just going to...

[End of first tape, some time missed during change of tapes]

(Second tape begins with 4 group members practicing the next game with Keith. The
game is called "Meet the Client" and he is preparing the group members in the room to
be interviewed by the other group members outside the room)

Keith: Go ahead and ask me about things...

Jacob: What movies, what was your favorite movie?

Keith: Favorite movie, um, I used to like "Paris, Texas" a lot.

Jacob: (Unintelligible)

Keith: (Unintelligible) I still like it a lot.

Jacob: Yeah, do you have any others (places(?)) like that?

Keith: No, before it was "Brazil", but "Brazil" has an 80's (unintelligible) with me, I
don't know why.

Jacob. Yeah. Lots of good movies out there...

Keith: Yeah.

Jacob: Um, what sort of hobbies do you have?

Keith: Um, hobbies that I have, oh, you know, I sketch, I'm involved in performance, I
do a lot of stuff like that.

Jacob: Ok.
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Keith: Um.

Jacob: Um, what, uh, do you eat for breakfast?

Keith: Uh, oh boy, these days, yeah - I'd probably say a waffle or something like that.
Good. Keep going with your questions. (Keith leans back in his chair)

Jacob: Um, what, um...

Keith: I go to movies.

Jacob: OK

(Laughter)

Jacob: Well, you've already described movies...

Keith: I could describe another one.

Jacob: Ok, um, describe.. .describe a current movie that you went to - something in the
last -

K. (Blurts out answer) "Transformers."

Jacob: Um, what did you like about that movie?

Keith. Blew up stuff, lots of...

(Giggling)

Jacob: Who was your favorite (unintelligible)?

Keith: (Unintelligible)

(Laughter)

Jacob: It's much more difficult to ask those personal questions... (Laughter)

Keith: Ok. All I'm doing is - and I'm going to ask you to do the same thing - what did I
do?

Monique: Changed your body language and...

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Keith: I'm trying - 1 tried to match him as closely as I could - the first time. The second
time - so the first person that comes to you - 1 want you to try and - not obviously copy
them - but try to match them as close as you can. Their energy, the kind of quality of
energy that they have. We kind of had a holding - kind of like - we breathed at the same
time - see if you can breathe the same way this person does. OK? I want you to really try
and get in, and (unintelligible) - I'm breathing with him, I'm having the same breath with
him. I'm trying to make eye contact. If his hands are falling here, mine are. I'm not doing
exactly the same thing because that's too much, but my hand might rests at the same spot.
We're both going to watch them, but just because I didn't do it exactly the same, because
that would be copying too much, but I let my hands rest in the same spot. I just sort of
breathed with him. The second one I wanted to make sure - when the second person
comes to you I want you to try and consciously mis-match them. All right? But you're
saying the same stuff. What did I also change? I changed the quality of my speech. My
pace was different then his pace of speech, and I was very deliberate about - 1 listened to
him first - they're going to ask you questions - giving you a chance to hear what their
pace and rhythm is. So that you will be able to

Jacob (Unintelligible) "Transformers" as well...

(Laughter)

Antoine: We're going to switch between each one?

Keith: Yeah, I'll help switch. You will be - the very first person that you talk to you will
match. Then I will have them rotate. (Monique moves chair near her chair) Right
exactly So I'll have them facing you.

(Participants moving chairs, overlapping discussion figuring out where to position selves)

Keith: Good. So - there you go. And you're not trying to be tricky with your content
really at all. I wasn't really trying to be tricky in terms of my content. Um, I actually
answered everything truthfully. Um, but I answered it in a different style.

Jordan: (Unintelligible)

Keith: Well, because he hesitated, I decided to take over. Because that's opposite his
style. His style was indirect, so I decided to be very direct. Right? So - you could do -
what's the eye contact style? Is he making a lot of eye contact? If so, I won't make any at
all. Unless I'm trying to match.

(Laughter and overlapping discussion)

Keith: It's interesting that his opinion of me changed, even though I was just still as
truthful. His assessment of what kind of person I was completely changed. Well,
165
"Transformer" guy, he's different than "Paris, Texas" guy. (Laughter) But, yet, it's the
same me. Ail right? All right. So - we're going to bring 'em in. The first person, you
match completely, ok? Get comfortable, just get into a nice, comfortable, match with
them. When I say switch, just listen, watch that first person and then ease yourself - get
yourself to be totally un-matched with them as soon as you can. Both of them. Try to
match as soon as you can, try to un-match as soon as you can. Right - first, match.
Second, un-match. Here we go.

(Giggling)

Keith: Hi there! (To group members waiting outside the room) All right. You guys ready.
So go ahead and find someone to interview. We set up an interview situation. At a certain
point I'll call switch and then you can rotate clockwise to another person.

Lori: OK. (Remaining group members enter room and sit down as "interviewers" across
from "interviewee" group members)

(Each dyad begins the matching "interview")

Keith: Good. If you would please rotate clockwise. Interviewers, we're trying to get a
market survey so you're going to ask pretty much the same questions if you would. But
go around the next, clockwise. You're going to move to the next person so you'll be here.
All right, good. So this is your second interview. All right.

(Each dyad begins the un-matching "interview")

Keith: Good. Then stop for a second. Interviewers, let me ask you some questions. So, if
the interviewers could look this way. Um.. .Interviewers, tell me a little bit about your
opinion of the two people. Which of one or two did - actually, just give me your
impression of the first person you talked to, especially if they were going to be your
client and you were going to have to work with them regularly.. tell me about them.

Lori: The first person I interviewed was pretty easy going. Uh... laid back, relaxed...

Keith. Cool.

Lori: So my first impression...

Keith: Your first person? (To Ken)

Ken: My first person was pretty laid back, yeah...

Keith: OK, how about you? (To Adrian)

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Adrian: My first person was very forthcoming, when I asked them questions, they gave
me extra information.

Keith: How about your first person? (To Stephanie)

Stephanie: Very warm, very open, just no hesitation.. .answering questions...

Keith: How was your second person? (To Lori)

Lori: Ah... she moved like 8-feet closer to me, she was in my face, so...

Keith: Well, what was your impression of her?

Lori: Um, encroaching?

Keith: Ok.. .and were you comfortable with them? Uncomfortable with them?

Lori: Uh.. .no, it kind of made me uncomfortable.

Keith: So you were uncomfortable with the second client.

Lori: Yeah.

Keith: So was it... which one would you rather work with?

Lori: Um, well.. .1 mean, I would work with -

Keith: You could work with anyone - you're a wonderful person and a hard-working
student...

(Laughter)

Keith: You could work with either - but was there a level of comfort with one or two... ?

Lori: Yeah, well definitely my personal space was more comfortable in one.

Keith: How about the second person for you - how was that? (To Ken)

Ken: The second person was much more energetic and fun-loving than the first one.

Keith: Were they easy-going?

Ken: Yeah?

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Keith: M-kay, and how was it for you, that second person?

Ken: A little more difficult to actually have a conversation with -

Keith: A little more difficult to have a conversation.. .all right, how about you? (To
Stephanie)

Stephanie: Yeah, my person seemed sort of disinterested and not really there and was
kind of, not like.. .rather just be somewhere else...

Keith: Ok. How about you? (To Adrian)

Adrian: Initially, I thought maybe they were just thinking about what I was saying, but
they kind of lost track of the conversation. So they just sort of seemed like they were a
million miles away.

Keith: Ok, so harder to connect with them. OK. So, um, what did I give you guys as the
principle thing to do, because I asked them to be very truthful with you, pretty much
truthful and forthcoming with you regardless. OK? But what was the main thing I asked
them - you guys had to change?

Monique: We mirrored the first person in their verbals, their non-verbals and then the
second person we did the opposite.

Keith: I asked them just to try and match your verbals and non-verbals in the first one.
And not match your verbals and non-verbals at all in the second one. Yeah... so... so
. . .how much - what does that tell us - let's let's come together kind of in a circle and talk
about this. In terms of what does that tell you? What is that experience?

Lori: It must be very hard for people with non-verbal learning disabilities.

Keith. Uh huh.

Lori: That's my first thought. Like you really can't receive it. Like if you really are not
reading someone else's non-verbals and you're reacting the completely opposite
way.. people will run away from you.

Keith: Mm hmm. Anybody find it hard not to match?

Jacob: (Raises hand)

Keith: You did. I saw that. You had a really hard time not matching. (Laughter)

168
Jacob: And it was easy with Ken, because Ken and I, I think, have the same sort of style.
And so, like, when he was doing his movements and stuff, were slow, and - 1 don't know
- it was easy to match.

Antoine: Yeah, I got that.. with Lori and I - 1 think we had like a similar tempo. So when
she crossed her legs I was already about to cross my legs anyway, and -

Keith: Yeah - you got into that matching. Was matching easier than not matching?

Antoine: Matching's easier.

Keith: K. So you guys, for your experience...

Monique: The matching I thought - it was fine. I think - it's more familiar to try to get in
tune with someone -

Keith: Yeah.

Monique: Just go with whatever flow they have.

Keith: Yeah. (To Adrain and Jacob) Even though you still picked up on his attempts to
not match - you still seemed more difficult to interview. I noticed you as - he kept
coming back to like - he'd go with you and match your pace, then he'd try to go away
from your body and then he'd come back and match your body. You kept wanting to,
uh.. and it's in sync - you wanted to instinctively kind of match with him.

Adrian: What I learned is that apparently I lean in because I noticed he kept leaning in
and then you kept telling him to lean back.

(Laughter) (Overlapping discussion)

Keith: And then it increased as he leaned back more.. I told him to change his pace,
because he was really in pace with you for awhile in terms of how you spoke. (To F.)
You did a great job deciding, you know what, I know what his pace is and I'm going to
be radically different.

Antoine: Yeah... when I saw him originally, I could tell the moment he sat down that it
was just like calm and relaxed so I was just like fireworks.

(Laughter)

Keith: What does it tell you about our own styles and beyond what we do.. .1 mean, what
does it tell us in terms of when we work with somebody whose style and pace is really
different?
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Monique: It could be difficult for me if someone is radically different. Or uncomfortable.

Jordan: You might get the wrong impression of who they are.

Keith: Yeah. You might make a judgment about who they are as a person. We're normal
- 1 mean - people do that. We make inferences.

Jordan: (Unintelligible)

Antoine: But, having taken like clinical interviewing, we did some role-plays, but I think
it's good to have kind of this idea of (learning) how to match someone. Being told that's
the focus that you want to do. You want to really - things to look out for and to
experience the matching aspect and to go from the un-matching aspect to see your
reaction is different. It's really (unintelligible). I guess it could be bit like transference
issues like those come up - like - you don't like that person who you didn't match with.

Jordan: With that though, I don't think you necessarily have to match to (unintelligible)
per se (unintelligible) one of my friends is shy and one of my friends is
hyperactive...(unintelligible)...physical interactions...(unintelligible).. I don't think it
has to be...

Keith: Is matching also 100% equation? Where you have to match everything?

Jordan: No.

Keith: Is there a thought that maybe - cuz I say would you match just (unintelligible) —
the simple thinking about match is that you're both sitting in a fairly (unintelligible)
posture. Or you could be, you're talking about something else too. Cuz you might be -
you might deliberately be not matching so that you can model something.

Jordan: Right.. .(unintelligible) match might be body language.. where you can get the
connection so when (unintelligible). . . l a m a person of authority so I have a huge voice
and that's my language.

Keith: Do you think that - how much do you think is in play when you think you're in a
sense of empathy - you have an empathic relationship with a person, good rapport with a
person. If you set a camera in there how much matching do you think you might see
happening?

Lori: Lots.

Adrian: A lot. Especially (unintelligible)

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Keith: You might - and it might be subtle - it might be the fact that that person might
have their arms crossed and you have your feet crossed. You know there's this sort of -
it's the way we try and go to limbic resonance. You know that sort of sense of how that
rapport is created and the answers if they are out of sync with each other - I've
experienced this recently - trying to find where the other person is breathing - that's why
I brought it up - where is that person breathing? So I can breathe with them. I'm not
saying this always works all the time, especially if you've got someone who is
hyperventilating. I'm going to hyperventilate with someone else! (Laugh) All right.
Because the idea is - certainly in a lot of things from neuro-linguistics to authentic
movement to dancing to therapy to drama to - um, what's that thing called - um,
transformations, you work with match and lead. You might meet the person where they
are - and then introduce the changes that you're trying - or help them move towards the
things you want them to move towards. There is just no way of getting at that - but it's
active for us. So I want to move to another thing where we can sort of get in sync with
each other. OK? I want to get in sync with something which is - 1 just want you to - 1 just
want one person to start a movement and a sound. Just like something you did before
right'' Just start with a movement and a sound, but think of it now as a machine. So the
next person's going to build off of it. OK? So - what I want you to do is.. .just (pointing
to Lori) start a movement and a sound and someone's going to build off of it.

Lori: Ummm...

Keith: So move the chairs aside. This can be any movement and sound. It's just that it's a
machine, so it has working parts all the way around, all right? So I'll build off of
whatever she does, and then somebody can build off of what I do.

(Lori does sound and movement)

Keith. Good. So just keep repeating that. Everybody spread out so you can see it.

(Keith adds on sound and movement)

Keith: (To Lori) You keep doing yours.

(Jacob adds sound and movement)

(Jordan adds sound and movement)

Keith: Now - actually make sure that your movement somehow connects with what
we're doing. So that you have a visual image of something feeding in. Cuz I could either
(To Lori) - keep going - do your technique (adds sound and movement to Lori's sound
and movement). So I want to build off the machine. I did this (sound and movement)
because it reaches down to what she's doing. So I want to make sure that the machine is
somehow connected. Even if there's space between us - we are connected to what the
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other persons doing - all right? Don't stay in the circle, don't just stand in the circle and
make a sound and a motion from where we're standing - because I had a sense we were
going in that direction. Mix it up a little bit. Change the space a little bit.

Stephanie. Do we connect to the original person? Or do we add on.. .?

Keith: You can add, you can go between two things, you can connect - it's the idea of
how do you connect with this machine? Got it? Start a new one.

Lori: Ok. A new one?

Keith. Yeah. New sound and movement.

Lori: Ok. Um...(sound and movement)

Keith: Good. Keep going.

(Monique adds sound and movement)

Keith: Good. Where does this fit? Can you move that out just a little bit so that people
can come all the way around you - anywhere around you? Just take a step forward - both
of you. There you go.

(Stephanie adds sound and movement)

(Adrian adds sound and movement)

(Antoine adds sound and movement)

(Jordan adds sound and movement)

(Ken adds sound and movement)

(Jacob adds sound and movement)

(Machine)

Keith: Good. See if you can speed up all together. All together.

(Machine speeds up)

Keith: It starts to slow down a little bit. All together.

(Machines slows down)

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Keith: Good. Spread out. Good. Good job. Good job. I'm gonna say this now. I'm going
to give you a theme for the machine. Somebody else come out and start a motion and see
if you can do it. Uh.. .this is.. a machine , uh, let's see, this is a machine that produces
feelings of giddiness. (Giggles from group) This is a giddy machine. All right?

Lori: All right - ready?

(Laughter)

Keith: You're ready to go - all right! Giddy machine.

(Lori begins and other group members enter in simultaneously)

(Giddy machine)

(Keith enters into Giddy machine last)

Keith: Can you follow it around the circle? Keep following yours all the way around the
whole circle. (To Jordan) Walk all the way around. (Machine continues working ) Good.
There you go. Good. Good good good. Spread out again. All right. Somebody else. Try to
see if you can change your configuration or where you were building off of - someone
else start. This - this is a machine for producing... um.. .PsyD's.

(Laughter)

Stephanie: (Goes to middle of circle and lies on the floor) I got it.

(Laughter)

(Group members enter into machine quickly, many moans and you can hear "I don't have
any money, I don't have any money" repeated throughout the machine)

Keith: Good. This machine is now going to slowly - keep going, keep going - it's going
to transform itself into whatever - somehow the problem is the opposite of what that is -
right? It's going to somehow sort of slowly, just bit by bit, keep moving your motions -
see if you can slowly move towards a different dynamic then you now - then the machine
right now.

Lori: (Within the machine) Give me back my money.

Keith: Your words will change. All right. (To Jordan) So what's the opposite?

Jordan: (Within the machine) It's an investment!

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(Opposite machine continues)

(Laughter within machine)

Keith: Good. (Clapping) All right. So the idea would be - you can see now, all of the
sudden we're moving in the direction of how a narrative starts to happen. Again - stories
will be told just with the machine. All right? So - uh - off a similar theme - uh - give me
the idea of - and all I want you to do is give me another machine that just is the machine
of the student. All right? It just represents, emotionally, whatever the experience - what
the experience of being a student is. You just did it - partially.

(Lori and Stephanie start doing motion)

Keith: So do it again. We're going to build off of each other and we're going to work all
the way around. You can be - you don't have to be directly connected - but you should
be sort of peripherally.

(Machine starts to come together)

Keith: Good. Make a little noise - if you want to add text or a short sentence you can.

(Machine continues. Phrases like: "I can do this" and "I think I want a career" can be
heard)

Keith: Good. Good. (To Jacob and Ken) I'm going to use you two guys to be on the edge
here. Come on over here. I want you two - and (To Abby) are you feeling good?

Abby: Yeah.

Keith. I want you guys to do the parents of the students. You will represent the parents of
the students. All right?

(Two machines continue. You can hear "Money, money, money, money" being repeated
throughout the machines)

Keith: Very good. Students, freeze for a second, I want you to watch the parent machine.
There you go.

(Parent machine)

Keith: Good. Parents, watch the student machine.

(Student machine)
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Keith: Good. Freeze. Look around at each other for a second. Very good. Now what
we're going to - again - we're going to see if we can make the opposite. We're going to
see if these two machines can change in some way. How would we like to change these
two - all right? Try to move however you would think that change would be.

(Each machine group discusses amongst group members)

Keith: It's not really a real image - more of an ideal image compared to a real image.
What's an ideal image?

(Both machines continue, you can hear "I did it" and "I have survived")

Keith: All right. Ready? So one of you - we're going to watch yours first so go ahead.
The transformed student change.

(Student group machine)

Keith: (Laughs) All right - now we're going to watch the transformed parent machine.
Here we go - ready?

(Parent group machine)

Keith. All right. So what do we have here - what's going on? What's starting to happen
there? Tell me a little bit more about it.

Lori: I think without the directionality it becomes, like, the fact that you said - now we
change it up and just kind of do our own thing - at least for our group - we, like, kind of
broke off into our own little - our machine kind of broke down I felt like...

Keith: Did it feel like - you weren't sure about which direction you would all go
together?

Lori: Right.

Keith: Interesting.

Lori: I mean, we were all on the same theme - we were all kind of in - like on the same
plane, but it wasn't a joint effort, we were just doing our own thing within the same thing.

Keith: So it wasn't like - what would the opposite be? Because we also have the question
of - well gee, I thought mine was pretty positive, so I have to go negative. Well, mine
was negative, so I guess I'll have to go positive.

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Lori: Yeah, we didn't - 1 don't know if we -

Keith: What do you think was the quality of your first one?

Antoine: Well, in the first one I was like an annoyed student typing.

Lori. Yeah, it was kind of annoying.

Keith: Ok. So there's annoyance. What else was the quality that was common in the first
one?

Stephanie: Anxiety.

Keith: Anxiety was a common quality.

Adrian: It was all kind of negative.

Lori: Yeah, the first one was negative. The second one we eased up and it was a little
more positive.

Keith: Ok. So come back up into it for just a second. How would it be... how would it be
more connected, but it would seem like you're doing the opposite. So if the other one is -
so if this is the one - the first one is annoyed and searching - what's one that is relaxed
and seems a little more found? A little more purposeful.

Lori: That's what we were kind of doing.. I, cuz we - we were doing the (unintelligible)
and he was sitting down there, and then we changed it - we used this electric sharpener -
we did that for awhile - then we decided, "forget it - we're using pens." So then I went to
start -

Keith: Go to the first one for a second - go to the first one for a second. Go and do the
first one.

Lori: Ok

Keith: Yeah - repeat your first one.

(Machine starts)

Lori: We were grinding and all of the shavings were coming down and you were
saying...

Keith: What do you notice about the quality of what we're looking at? I notice you guys
are doing similar movement though. And you guys are in rhythm in terms of movement.
176
And they work around you (To Adrian) but you're... So how could you guys stay in a
kind of rhythm together but - and in fact - we're all ignoring this central figure. How
could we take care of this central figure better? (About Adrian who is sitting in the center
of the machine)

Monique: We could all face him.

Keith: Ok. Cuz the big movement pattern in this one is ignoring the figure at the center.

(Overlapping discussion about changing the machine)

Keith: (To Adrian) How would you change it?

Lori: Now he should become the center instead.

Keith: (To Ad) What would you like to say?

Adrian: Well, for me, what I did in the second one was I was jumping up and down with
excitement. So (unintelligible) them on one side and me on the other facing each other.

Keith: All right. So, would it be - could anyone help that process rather than having you
be totally on your own getting up?

Adrian: She was almost dancing with me. (To Monique)

(Laughter)

Keith: Ok. So so - someone dancing with you, and the sense that you've got two people
right here. So how would we move from this to getting you up? What - now we've got
two people right there as well. Do they want to be involved in that?

Lori: Sure, we'll help him up too.

Keith: All right. What about these two people on this side - what's the relationship here?

Stephanie: Um - just standing on the side.

Jordan. I don't think I'm in yet.

Keith: So how do you become more connected to this?

Stephanie: We could face them.

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Keith: Ok you could face them. Great. Is there a way you would physically support what
they're doing?

Jordan: (Unintelligible)

Antoine: We could just throw him at them.

Lori: Throw him at them!

(Laughter)

Keith: But it's got to be this sense of dancing. So it's something like...

Adrian: I was doing this in the middle - and she was kind of...

Monique: I was (motions dancing) over here probably...

Keith: Great. So how would you like to meet him as he's coming up into this dance -
how would you like to...

Jordan: Sell your books! Sell your books! (Motioning in and out toward center)

Keith: Good. And now something that's not even buying or selling? What's not buying or
selling? What's the opposite of buying and selling?

(Several responses at once)

Keith: Ok. So giving - or it's not some kind of transaction it's just (unintelligible).

Jordan. Oh.

(Laughter)

Keith. Oh what is this? Oh congratulations! Ok.

Jordan: Congratulations.

Keith: What about exchange? There's also a sense of exchange - like...

(Congratulations "dance" back and forth between group members)

Keith: It's neither taking nor giving. (Machine going) (To Stephanie) How do you get
involved in that process? (Keith continues giving direction, but cannot hear words over
machine sounds and movement)
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(Clapping)

Keith: Ok. Sit down. How's that feel?

Lori. Good.

Keith: Yeah. What was the difference?

Lori: We all got involved in what was going on instead of just doing our own thing and it
came together.

Keith: Good. So what are some of the things that helped that happen?

Monique: We got along... ?

Keith: Ok.

(Laughter)

Lori: Yeah.

Monique: (Unintelligible) Because before I think I just listened because that - in the
pattern that was there before - (To Lori) you started. And then our noises were - so it
was a non-verbal thing - but our noises were kind of back and forth. And then I listened
to them. So I really didn't talk to them - 1 just listened for the same...

Keith: Is there - in just the few things we've done - this is just sculpting - it's starting to
move towards kind of a role-play. Or what we'd do - there's also this thing called
sculpting where we'd start to sculpt out - (To Adrian) you started to do it a little bit -
sculpting out there - the image that you want or would like it to be. This kind of thing of,
um, I would ask you - do you want to do instead of coming together to just do a machine
- what we might do is do sculpts - which is, you tell me how the machine works. Or you
tell me how the whole sculpture, moving sculpture of student life is for you, and you ask
these people to pose and be your clay and they start to make repeated sound and
movement base d on that. But since you were all choosing your own pretty much - um -
what kinds of roles did you find yourselves winding up in? What kinds of roles did you
play in some of these? What were they like, some of these roles? Were you vicious?
Were you relaxed? Were you somebody who was on the outside? Were you usually
connected to someone? What kind of roles were you playing?

Monique. I was an outsider I think. At least on the last few...

Keith: Ok.
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Lori. I was like doing something very like, ah.. .proactive, I think, just involved in doing
something (unintelligible).

Adrian: I felt like I was on the outside, even like you said, even when I was on the inside.
I thought that that would change just by moving myself to the inside of the group - and it
still felt like - even though we were all facing each other - like nobody was really
connecting.

Antoine: (Unintelligible) Like where I could see both - all people (unintelligible).

Keith: Ok. So if you put it - if you - good. Anything else you notice about character
choices - things you wound up playing?

Ken. Disconnected.

Keith: Disconnected. Ok. So that sense of disconnection. OK.

Jordan: Frustrated.

Keith: And a little bit frustrated. Ok.

Antoine: Like I'm awake (?)

(Laughter)

Keith: Ok, so there's a sense of, um, would you say there's a quality of either play or
work in the character roles that you were in so far?

Group: Work

Keith: Work. A sense of work. Work. All right. Um.. .there were - what about when we
were doing some opposites. What was it that you found you enjoyed that maybe were not
that same sort of isolated, working person?

Monique. I liked manipulating situations. That was fun.

(Laughter)

Keith: You felt like you were - you felt like the manipulator rather than manipulate-ee?

Monique: Yeah. That was fun.

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Stephanie: It was fun to think up, what is the opposite - and to hear what everyone else's
opposite is. That was fun.

Jordan: I liked the comical aspect to all of it.

Keith: So it felt like more of a comical character - less sort of serious.

Jordan: Yeah and I have a case (unintelligible) sort of comical - it just feels like playing a
part.

Keith: Great. Well - yeah. So in terms of playing that part - the one that was the opposite
- what was that like, if...you know...

Jacob: Well, I really resonated with Abby's opposite, that we kind of incorporated with
the parents and, I don't know, that was kind of cool because I felt really connected to-

Keith. Tell me a little more about what that opposite was.

Jacob . Um, well we started out, like you said, we were very supportive as parents I think
but in a way that wasn't really connected with us or with the students. So, we were
supportive with - by writing a check or giving a hug or (To Ken) what was yours...

Ken: Clapping.

Jacob: Yeah, clapping - like, good job. But not really saying, you know, what is your
experience as a student and what is your experience as a therapist and what is - you know
- let's talk about what you're doing. I think that's something that - 1 don't know - it
resonated with me.

Keith: There was a more - should we say - there was a more open and connected
dynamic with some of the changed roles that you had? Or am I overstating?

Jacob: It was for me.

Stephanie: I think the parents I saw they went from handing some cash to "let's talk about
it."

Keith. I wonder how many of you are actually more comfortable with (unintelligible)

(Laughter)

Adrian. I liked going back where we re-worked the system.. .trying to make everything
connected. Because what happened was that the people that we were interacting with the

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most we had to like give up and cross over so that you were working with people who
you working with.

Keith: Uh huh. I thought that this was an interesting find. You know you were like, hey -
cool - what's this? Seriously - trying to find - what's a character that's not a transaction
character? You know this one that's - so you became a character that was more a
celebrant rather than a salesmen. You were neither buying nor selling, you were now a
celebrant. How was that transition?

Jordan: Uh.

Keith: Just as a role.

Jordan. Uh. Once I got into it? It was fine. It seemed to be just - feeding all together. I
mean it was more of like a pattern. Where I went he went.

Keith: Do you - can you see the idea of what it might get into which is that - over time -
you might see a lot of people's range of choices. Character choices. And then try and
work on expanding the range of character choices or what you're most comfortable with.
Where you - what your own natural state is in terms o f - or what character you would
pick - and - what is that? Can I change that a little bit. Or if I tried to change it, what
would that be like? What's the movement dynamic I pick all the time. You know. Cool.
So, you got some process things you want to do so I want to go in to some of that. But
obviously over time - so any other - as she's distributing all that - um, just thoughts
about this idea of...

Abby: And that's exactly how I was going to start too - ask - if you guys have questions
about the whole process - how the process fits with psychology - or how it.. what games
were pulling for what training. You know what I mean, like anything related to that. And
this is also just a feedback form just because I didn't want you to have to like shout out
everything - if you have other things you want to say - please write it down.

Jordan. The interview that we did. I think that part could have great value in a classroom
setting because it exposes you to all sorts of characters you might face when you - you
get to work. How to read them (unintelligible) different techniques and it's something
that, I think, would have great - would be a great tool to have in your arsenal. You would
know how to respond. Sometimes when you're talking to someone they do things to see
how you'll respond. You can respond in a very smooth transition away - they won't
catch you off guard... (unintelligible)... So you can kind of get ahead of them as opposed
to - you'll play on their levels - but are playing behind them. Which at some times, I
feel, at least where I came from - you start falling behind and they start gaining control
then you had to play (unintelligible) as the therapist they changed the rules
(unintelligible) and then you can transition with them smoothly and not make them feel

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like they were able to catch you off guard and their respect is much more easy to get and
hold on to.

Jacob: It is really easy to - this has been my experience in therapy - is to remain within
your comfort zone - 1 have this opportunity to try out stuff regardless of whether or not I
will be able to achieve that or not...

(Laughter)

Jacob: But I feel like I always want to challenge myself and continue to do that - cuz that
is probably one of the most difficult things for me is getting out of my defensiveness and
my comfort zone so I....

Lori: Well, the thing I love about improv is that I was never really exposed to it until I
came here to Chicago and I went - 1 was involved with the Live Bait Theatre. And um,
so, going there was an experience that really changed me in a real way and seeing - it
was a Vaudeville production I saw - and it was so... the anxiety that it produced in me
even as an audience member was so profound. Um, and, of course, anxiety for me is not,
I don't process it in a bad way. I.. I mean, it was very existential.

Keith: Was it "Suarez Dada?"

Lori: It was "Ugly House."

Keith: Oh, "Ugly House," ok.

Lori: Yeah. Um, and it was just genius. And - you know - being a psychologist, like
watching the dynamics of not only the people who are up there but then, you know, the
dynamics of the people watching and the energy feeding off between. You know, what
they're doing, what we're doing - why are they up there? Why are we here? And I was
just like - it just set me off. And it was so interesting, um, also thinking about
improvisation and this whole experience was moving beyond dichotomies. So, you know,
going outside of the box. Not buying or selling, you're just - you're somewhere else. And
I think that's another important point that we need to kind of take with us in psychology.
Take from that and have, you know, apply that.

Antoine: One thing (unintelligible) to this type of thing is before - 1 noticed like, we did
role-plays in interviewing class- you get kind of into this rigid mindset where "I am a
psychologist" and you like put on your psychologist face. You know, where - "I'm
listening to what you're saying and I'm empathizing with you on this level." And it's not
as loose as this was where you find yourself letting go more and really trying to just relax
yourself as a person. You know. Definitely like more interesting ways to understand -
even like transference issues, and how you might be communicating to someone,

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especially if you have like this more stoic, you know, idea about yourself and you're just
nodding your head. You know...

Keith: (Motioning around the circle) Just want to check in with you guys as well.

Monique: I think it's beneficial. I like really - 1 did a Masters in Art Therapy. And the
uncomfortable thing I found was that I really don't enjoy talking the whole hour because
I know.. I know it's a dialogue, but I feel like sometimes people are expecting something
really wise, and I know probably that in the time you could have said things really wise...
So I feel less pressure when it seems like they were more active and engaged and they
found something from more of a product that is co-constructed or that they did. Not like
they are completely dependent on you to say something.. although you haven't graduated
yet, and they don't respect you. You don't have kids, and you're not middle aged. You
know, so...

Keith: I'm noticing this difference between what you both talked about (Monique and
Antoine), this idea of, "The Wise Person," that sits there versus someone who sits there in
rapport with the other person. Receptive, responsive.. but not the one confident. (In a
deep voice) "Welcome, I am glad you have come. When I speak you will be wowed."
(Laughter) You know.

Abby: I think it's like the roles you were discussing earlier. The conversation between
you two about the roles I play each day are going to be different. And when I am acting,
am I being more authentic be being, you know, just trying to be another person. Am I
being more authentic doing that than I am really being in my day to day and what we're
taught through a psychology program - whatever that is in our head - are we playing that
role or are we finding it authentically. I think that was (unintelligible)...

Ken: I just think it's interesting to see how, no matter how many things sometimes I try to
change about myself. You can always see them manifest in different ways when you
don't notice it. But then when you - when you allow yourself to be creative or get rid of
your anxiety or whatever is blocking you - how many different things you can do even
though you may be likely to regress to one thing. You can do so much if you're actually
open to it. You can remove the barriers that you have like, I guess, inside you, like
shyness or whatever...

Keith: I always think of those as like your baseline, like every improviser has a safe zone.
Safe characters, safe body postures, safe vocalization. Sure - the one you're most
comfortable with. And that's great - you want to move beyond it - but you don't sort of
say, "My safe zone is holding me back." It's sort of like if you think of it in terms of
music. There's this baseline and then you want to be able to deviate and move from the
baseline and move around. So maybe you feel like you've completely lost the baseline,
but then you can come back to it. There's that sense of - and improv anyway has that
feeling of like - like you're playing. You're trying to get the - so we're looking at range,
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we're looking at flexibility, range of just awareness so that you're aware of range of just
emotions and character choices, verbals and non-verbals. So you're talking about moving
from a physical sensory awareness to an emotional awareness to a character - kind of -
character and social interaction kind of awareness. That should build all of those. Um,
other...?

Lori: I think from the point of view of consciousness it's kind of interesting because
when you're doing group work you can really see - at least I could see - the group
consciousness working together. Whereas my own consciousness - I'm here doing
something and I'm aware of that but then there's Antoine here, you know, and there is
somebody down here and you have to be aware of the rhythms of the entire group plus,
you know, yourself, so it's layering of consciousness that kind of (unintelligible) is cool.

Keith: Mm hmm. ..

Antoine: In terms of like, Family Therapy, (unintelligible) some of these activities that
we did would be very interesting for families to participate in, especially one that maybe
isn't going through such a great time right now. The idea of movement and running
around and being silly, you know, and just that - 1 feel like after doing an activity like
that you're more ready to make a more emotional (unintelligible) really, like he was
saying earlier, (unintelligible) a safe zone...

Keith: Hopefully, my image is that it opens you up rather than lowering any defenses -
you've got it - will it kind of open - but either way it's just sort of semantics. Yeah.

Adrian: But if you can get somebody to drop their defenses...

Jordan: I definitely agree that it may work better with some kind of (unintelligible). Like
it (unintelligible).

Keith: But, and I say we're always very client-centered so I'm going to be picking
exercises and things for, um, - art therapist is drawing. (To Monique) That's great! The
art therapist is drawing. (Laughter) No that's great! That's cool. No, I was just noticing.
Um.. .is the idea that you pick things that work for each person. And some games, yeah,
you're definitely going to get a feeling of like, what can I try? And then track your own
parallel process, which is, am I - is it - it's not the family that is uncomfortable. I'm
uncomfortable being with this family doing this. You have to decide which it is that is
going on. But yeah you usually have to trust yourself and say, yeah, there's a reason I'm
thinking that this may not work, maybe I'll go to a different one. Something different.
(Begins looking around the room for more feedback)

Stephanie: Um, yeah. I don't know. I just - just really enjoyed this. It's been a long time
since I've done improv and it is, I don't know, it's just sort of - it's weird the things that
you find about yourself and how you feel around other people and a lot of it is just sort of
185
the little gems that you that you didn't realize were there, but you ran around with a
bunch of people and you found them, so.. .there they are, suddenly, so yeah, I had a great
time. But also just sort of (unintelligible).

Keith: Cool.

Adrian: What she was saying about layers - you were talking about music and she was
talking about layers. And it reminds me back when I was playing - like we'd play
different - just jam with friends and what not and you learn somebody does this and
somebody does that and you kind of learn how to layer it. There's a really cool dynamic
when everybody does the same thing... nobody's leading or following it's just going back
and forth with each other.. I feel like I (Unintelligble) the process...

(Laughter)

Keith: But, yeah, I get what you're talking about, um.. .We pulled a hodge-podge of
things together. I mean, different things, because I wanted to give the - what I'm hearing
back is - thankfully - what I wanted to touch on by pulling different things together -
when I talked with Abby we pulled some things that are both in Theatre of the
Oppressed, which is Augusto Boal, and worked with (unintelligible), which gets into
image theatre and forum theatre. We get into things strictly from improv. Not that - all of
these are kind of used in improv pretty much - all the stuff we did - it's pretty much used
in improv - uh, but it's also used in other areas as well. Or improv has gotten it from
other things because, as you know, improv is very inquisitive. Improv follows Michael
Caine's acting book, his main motto of that book is steal, but only steal from people who
are good. So improvisers tend to take a lot. Sometimes with and sometimes without
attribution. So anyway - that's a lot of stuff.

Abby: Well, thank you Keith (unintelligible).

(Thank you's and clapping from the group)

Abby: What I'm going to do is hand everyone their stipend when they hand their thing to
me. So...

Lori: Oh wow, we get it tonight?

Abby: Yeah.

(Group moves around, separate conversations and people slowly leave the space.)

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 APPENDIX D: PILOT PROGRAM FEEDBACK FORM

Thoughts/Feedback on Improvisation Pilot Program

August 29, 2007

1. Please describe any strength(s) of this improvisation class and/or a potential course
utilizing drama in psychology training:

a.

b.

c.

2. What suggestions do you have for improvements of this improvisation class and/or a
potential course utilizing drama in psychology training?:

a.

b.

c.

3. Do you feel there is a connection between improvisation and therapy? (Circle your
answer)

Yes Maybe No Don't Know

4. On a scale of 1-5, how do you think an improvisation class would benefit your skills as
a psychologist?
(1 - Not at all beneficial, 5- Extremely beneficial)

Not at all beneficial Unlikely beneficial Neither unlikely or likely Likely beneficial Extremely beneficial
1 2 3 4 5

5. Which therapeutic skills would this type of class benefit?

6. Do you think creative arts have any place in the training of psychologists? If so, what?

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 APPENDIX E PILOT PROGRAM FEEDBACK RESPONSES

Thoughts/Feedback on Improvisation Pilot Program - RESPONSES

1. Please describe any strength(s) of this improvisation class and/or a potential course
utilizing drama in psychology training:

a. The interviewing aspect of the class would work very well in terms of
learning/teaching psych, students to match clients
b. I think the class would work very well with working with families to start to see
how each individuals actions influences others in the family
c. This will work well to help lower anxiety in general about working with clients by
offering different options/services for practice.

a. breaks down discomfort with strangers

b. increases awareness of own actions
c. learn to move from one "new" friend to another during the session

a. Interaction with classmates

b. Full participation in learning process
c. Reflection

a. forces exploration of roles without confines of how one "should" behave

b. experiential learning
c. gives opportunity to try new roles you're curious about

a. emotional intelligence
b. Defense mechanisms
c. Self-discovery

a. It's fun
b. It's surprisingly insightful
c. Um, it's fun!

a. Learning to be comfortable in awkward setting.

b. Understanding transference issues/body/verbal
c. Active; movement; lowers sense of pressure

a. "Interviewing role play" = great exposure to various personalities

b. Makes you aware of your own body language and speech; personality type as
well.
c. Aware of self and aware of those around you; need to be very observant

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2. What suggestions do you have for improvements of this improvisation class and/or a
potential course utilizing drama in psychology training?

a. Maybe make it more than one class and intensify the training in the future if
interest is there.

b. Punch and Pie next time Abbey...Punch and Pie!

a. More in depth discussion of concepts before and after

a. ? I think it went well, perhaps have person write it down (= their reflection)

a. Warm-ups
b. Better idea or
of other activity
direction to remove rigidness and open doors to creativity
in beginning

a. Make it a class, I'd take it

b. Make people interact with each other more; more out of comfort zones
c. ?

a. Interviewing activity; have a trained interviewer who can try to show you various
personality types
b. Some theory linked to these activities

3. Do you feel there is a connection between improvisation and therapy? (Circle your
answer)

1. Yes
2. Yes
3. Yes
4. Yes
5. Yes
6. Yes
7. Yes
8. Yes (depending on client and their background)

4. On a scale of 1-5, how do you think an improvisation class would benefit your skills as
a psychologist? (1 - Not at all beneficial, 5 - Extremely beneficial)

Person 1: 4
Person 2: 4
Person 3: 5
Person 4: 5
Person 5: 5
Person 6: 4
Person 7: 4
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Person 8: 5
Total: 36
Mean: 4.5

5. Which therapeutic skills would this type of class benefit?

Person 1.1 feel like it works really well with a psychodynamic contemporary relational
approach or conceptualization...

Person 2: Speaking/Working with others. Reading body language.

Person 3: Listening, Attunement, Empathy

Person 4: Authenticity, self-reflection/exploration

Person 5: Empathy! Emotional intelligence

Person 6: Listening. Being aware of my own thoughts and feelings

Person 7: Interviewing. Gaining rapport.

Person 8: Listening skills, personal comfort in various situations or personality types,

observation skills

6. Do you think the creative arts have any place in the training of psychologists? If so,
what?

Person 1: Yes, most def. I think it translates into first year courses and also advanced as a
concentration/track.

Person 2:1 think creativity is a part of training psychologists becuz we should as a whole
person "treat" people as whole entities themselves.

Person 3: Yes. Being a critical thinker requires a type of flexibility. Creative arts expands
and creates more flexibility because we're engaging verbal and non-verbal.

Person 4: Exploring different roles to play as therapist/psychologist to prevent rigidity

and provide more tools to work with.

Person 5: Yes!

Person 6: Yes. I believe psychodynamic is an art/ therapy is an art. Being involved in

other arts is beautiful to see how things can be different and ok.

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Person 7: Yes; it allows for individuals to explore different (arenas?)/ideas in the self

Person 8: Yes. Because it would train you clinically in a different way.

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 APPENDIX F: PROGRAM SYLLABUS

Drama and Improvisation for Psychology Traimng

PYXXX
3 credit hours
Class Time:
Instructor:
Office Hours: By appointment
Phone:
Email:

Course Description: This course introduces students to experiential training techniques in

effort to facilitate active learning of basic helping skills prior to going on a first practicum
experience. The course utilizes drama and improvisational techniques, playback theatre,
and creativity awareness to allow students to develop confidence, practice interaction,
and trust the self within beginning client interactions. Helping skills the class hopes to
strengthen include but are not limited to: empathic listening, self-awareness, and
creativity, each needed for building rapport and working with clients.

The overall goalfor this course is to strengthen helping skills and develop confidence
prior to a practicum experience (where a student must learn in the moment). The course
description indicates that the course will be mainly experiential (e.g. drama and improv).
And points out which skills this course hopes to strengthen within the student.

Course Objectives:
The student will be able to:

1. Identify basic methods and rules of improvisation.

2. Describe basic skills needed in interviewing and working with client populations.
3. Demonstrate ability in improvisation games, role-plays, and playback theatre
demonstrations.
4. React authentically (be open and honest) to material and experiential learning methods.
5. Examine and identify personal empathic ability and listening skills.
6. Analyze how the self is involved in working with others.
7. Identify creativity within the field of psychology.
8. Integrate learning methods from the fields of drama and psychology.

The course objectives were developed using the Bloom's Taxonomy of Education
Objectives (Forsyth, 2003, p. 12). Because the course is geared towardfirst year PsyD
students, the objectives focus primarily on the knowledge, comprehension, and
application levels of Bloom's Taxonomy. The last three objectives move into the analysis
and synthesis levels.

Course Organization:
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This course will be organized around class participation, discussion, and practical
application. Students will spend much of the time "on their feet" in the class. This entails
active involvement by each student in order to maximize the learning of all in the class. It
is expected students will have read the assigned material prior to class.

The course will cover topics such as creativity in learning, self-awareness, empathic
listening, improvisation, role-play, and playback theatre.

This section indicates what class time will entail. It also highlights that students will
spend much of their time actively involved Course topics are also reiterated.

Teaching and Learning Methods:

Lecture, discussion, and enactment will be the three primary methods in teaching this
material. Enactment (i.e. improvisation, role-play) methods will be central to this class.
Active and experiential methods are being utilized to help students understand in a
different way; to understand learning actively through movement, contact, and immediate
response. Experiential methods also allow students to rehearse client interactions and
become more comfortable in this type of interaction.

As every student has a different learning style, different methods of teaching will be
incorporated into the classroom setting. Enactment or experiential training will be the
focus of the course; therefore much of this section is devoted to a more in depth
description of this type of teaching/learning.

Textbooks:

Napier, M. (2004). Improvise. Scene from the Inside Out. Portsmouth, NH: Heinemann.
Spolin, V. (1983). Improvisation for the Theatre (2nd Ed). Illinois: Northwestern
University Press.

Additional Readings:

Boal, A. (1992) Gamesfor Actors and Non-Actors. New York, NY: Routledge.
Dayton, T. (1990). Drama Games: Techniques for Self-Development. New York, NY:
Innerlook, Inc.
Fox, J. (1986). Acts of Service: Spontaneity, commitment, tradition in the nonscripted
theatre. New York. Tusitala Publishing.
LeGalliene, E. (1973) Mystic in the Theatre: Eleonora Duse. Carbondale: Southern
Illinois University Press.
May, R. (1975). The courage to create. New York: W W. Norton & Company, Inc.
Rilke, R.M (1954). Letters to a Young Poet. New York: W W. Norton & Company, Inc.
Rohd, M. (1998) Theatre for Community, Conflict & Dialogue. Portsmouth, NH:
Heinemann.
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Salas, J. (2003) Improvising Real Life: Personal Story in Playback Theatre. New York:
Tusitala Publishing.
Wiener, D.J. (1994). Rehearsals for growth: Theater improvisation for psychotherapists.
New York: W.W. Norton and Company.

The Spolin text was chosen as it is the "bible " of improvisation and was developed
through her work with Neva Boyd who used improv in her work with children. Many
improvisational techniques and schools have been developedfrom Spolin's ideas. Mick
Napier is a well known improviser and director in the Chicago area. His ideas are taken
from Spolin, but he negates many of the rules that are associated with improvisation.
Each book gives a unique perspective on improvisational techniques. However, these
books are focused on improvisation performance. The additional readings intend to blend
improvisation into trainingfor psychologists. The additional readings reveal ties between
psychology and drama/improvisation. They alsofoster creativity in thinking with the
intention of transferring this type of thought process into everyday life and into the
budding therapist's mindset. Some of the additional readings focus on specific techniques
such as playback theatre and Boal's imago theatre. I will continue looking for
readings/books that capture these ideas and hopefully inspire student learning in the
classroom and beyond

Activities and Assignments:

Improvisation and Games each week/participation: 25%

This class is largely experiential. You will be graded on your level of participation
and motivation in the games, improvisation exercises, and playback scenarios.
YOU WILL NOT BE EVALUATED ON YOUR ACTING ABILITY! This is a
course for psychologists, not actors. I want you to participate in order to get in
touch with your creativity, spontaneity, and self in order to strengthen skills
needed in the client relationship.

Journals each week: 25%

You will write journals each week that should include reactions or responses to
readings, homework exercises, and experiences in class. You do not have to write
out your homework assignments in the journal, but your experiences of doing the
homework assignments. One homework assignment will require you to see an
improv show. There are free shows throughout the city. Check out theatres such
as 10 (Free Wed. night show), Second City, Annoyance, Comedy Sportz, etc.).
Journals should be turned in to me by noon the day prior to class. I will read your
journals each week. Feedback on your journals will be given twice throughout the
semester (at midterm and before final). If you would like feedback at any time in
the interim, please note that to me in your journal.

Discussion/participation: 10%

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 We will also spend class time discussing reactions to homework, readings, and in-
class improvisations. Authentic reactions to this work are necessary for the class
to evolve.. .especially in making the connection between improvisation and
therapy training. Be present.

Art/Psychology connection paper: 20%

This research paper involves looking into the connections between the fields of art
or drama and therapy. It can be on any topic that is of interest to you. The paper
should be 10 pages (APA style). A list of topic ideas are as follows, however,
please feel free to choose anything related to the subject matter that is of interest
to you. Please alert me to your topic two weeks before the paper is due.

Topic ideas:
• Empathy training for MD's utilizing drama techniques
• Drama Therapy
• Psychodrama (Jacob Moreno, Founder)
• Theatre of the Oppressed (Augusto Boal)
• Art Therapy
• Dance Therapy
• Training teachers using drama techniques
• Play Therapy
• Role-play
• Playback Theatre

Final Improv and Playback Performance: 20%

You will be performing an improvisation scene and involved in a playback
scenario during the final class period. Again, YOU WILL NOT BE
EVALUATED ON YOUR ACTING ABILITY. However, you will be evaluated
on your commitment to the project, your authenticity, and your integration of the
subject material learned over the course of the semester. We will discuss as a
class if we would like to invite friends or family to the final performance.

A grading rubric will be provided to the class two weeks before the paper is due and two
weeks before the final performance to inform students of the specifics surrounding
grading of the project. (This will be a holistic rubric)

This is the activity and evaluation piece. I will be utilizing several student centered
activities. As the class is focused on building helping skills and confidence, student
centered activities seemed most appropriate.
• The first component is participating in weekly experiential class trainings. These
are in essence a large group activity which may be broken down into smaller
group activities depending on the focus of each class. I will be evaluating their
effort and commitment to involving themselves in this process. I will also be

195
 evaluating the objective about reacting authentically to the material and
demonstrating ability in improv games.
• Journals are intended to connect the material with the students' personal
experiences (Forsyth, 2003). The journals are intended to help the student make
sense of the material. I will be able to evaluate if they are able to identify and
describe basic methods of improv. I will also be able to see how they are
examining and identifying personal ability and listening skills. The journals will
also hopefully display how the student is analyzing how the self is involved in
working with others (All above listed are course learning objectives). I will give
feedback twice during the semester.
• This discussion piece gives students who have difficulty working in a very
experiential way the chance to express themselves through conversation rather
than action. It is also more of a "normal" type of classroom activity and may ease
the anxiety of students who are experiencing difficulty working in such an active
way.
• The paper will hopefully show how the students are integrating materialfrom the
fields of drama and psychology. As the text discussed, "writing is a profoundly
active experience, for when people write, they identify and define problems,
evaluate evidence, analyze assumptions, recognize emotional reasoning and
oversimplification, consider alternative interpretations, and reduce their
uncertainty (Wade, 1995, as cited in Forsyth, 2003, p. 115). "
• The final performance is the closure for the class. An improv or performance
class loses some of its life without afinal presentation as closure. Hopefully the
final performance will inspire students to continue this type of learning beyond
this course, into further role-play and experiential training, and into the
therapist-client relationship.

Grades:
Final course grades will be assigned on the following basis.

94-100% = A
90-93% = A-
88-89% = B+
84-87% = B
80-83% = B-
70-79% = C
<70% = F

As mentioned above, a grading rubric will be given to students two weeks before the
paper is due as well as two week before the final project is due. If you have any questions
about how you are progressing in the course, please ask. Students who are experiencing
difficulty will be in contact with the professor well before their final grades are given.

Policies:
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 Each unexcused absence will result in the dropping of one letter semi-graduation (i.e. A
to A-, B+ to B, etc.). If you are going to miss a class, please contact me prior to the class.
This class requires participation and missing class will be a detriment to you and your
classmates. It is your responsibility to make up the content and the learning from the
missed class. (Grading will be on the student-centered activities. Rubrics will be given
for the major paper andfinal project. Student will receive feedback twice on journals)

Confidentiality:
All information and personal disclosure that evolves out of this work in the classroom
will remain in the classroom. Working experientially can bring up unexpected feelings
and emotions. Please be sensitive and confidential about any topics that are discussed or
enacted within the classroom. Please utilize sources of support if you experience any
difficulty. (Confidentiality is of utmost importance in working in this way, especially if
students are feeling embarrassed, etc. The section about confidentiality would be
highlighted on the first day of class).

Sources of Support:
Academic Support Center: The Chicago School provides a referral service for students
interested in seeking personal counseling. Please utilize this website if you would like a
counseling referral: http://www.thechicagoschool.edu/content.cfm/counseling_services.

Relaxation Techniques can also be helpful when experiencing any anxiety or conflict
surrounding the course material. (This section allows student to seek out their own
support. While I do not want to discourage them from contacting the professor, I want to
set up a clear differentiation between teacher and therapist.)

Calendar:

Week 1: Introduction

Class content:
Define Improvisation, Drama, and Therapy (Class discussion)
Why are psychology students taking an improv course!?!
Improv, Acting, Drama, and Psychotherapy Teaser
Personal Introductions
Syllabus Discussion
Questions

Readings/Homework (due for this week):

None

Due:
Nothing

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Week 2: Orientation

Class content:
Improv, Acting, Drama, and Psychotherapy - discussion continued
What is improv?
Spontaneity
Orientation to beginning improvisation exercises
Questions/Thoughts/Feedback on first experiential work

Readings/Homework:
Spolin, V. (1983). Improvisation for the Theater. [Chapters 1 & 2; pages 1-46]
Napier, M. (2004). Improvisation. [Chapters 1 & 2; pages 1-28]
Relaxation Exercise (Dayton, T., #1)

Due:
Journal #1

Week 3: Orientation

Class content:
Questions/Thoughts/Concerns
Discussion of homework exercise
Warm-up
Improv Orientation exercises/Games:
Zip, Zap, Zop
Martian, Salesman, Lion

Readings/Homework:
Rilke, R.M. (1993). Letters to a Young Poet. [Pages 7-78]
Individual Mirroring Exercise (Dayton, T. #6)

Due:
Journal #2

Week 4: Orientation

Class content:
Questions/Thoughts/Concerns
Homework Discussion
Warm up
Improv Exercises:
Continue with Orientation
Getting comfortable on your feet
Point of Concentration/Motivation/Attention/Intention Discussion

Readings/Homework:
Rilke, R.M (1993). Letters to a Young Poet. [Finish book]
Homework: Inner Face and Outer Face (Dayton, T. #17) (self-awareness)
Due:
Journal #3

Week 5: Where

Class content:
Questions/Thoughts/Concerns
Homework Discussion
Warm up
Improv Exercises:
Where
Who, What
Point of Concentration/Motivation/Intention/Attention
What you pay attention to makes you who you are (Ed Harris)
Readings/Homework:
Spolin (Where and POC revisited)
Napier (Same)
Homework: Environment and Body Parts (Napier)

Due:
Journal #4
Reminder: Paper topic due next week

Week 6: Listening

Class content:
Questions/Thoughts/Concerns
Homework Discussion
Warm up
Improv Exercises:
Listening Focus
Listening Discussion
Readings/Homework:
La Galliene (?). Mystic of the Theatre. [Excerpt from book]
Homework: Gibberish (Napier and Spolin)
Due:
Journal #5
Paper Topic

Week 7: Empathy

Class content:
Questions/Thoughts/Concerns
Homework Discussion
Warm up
Improv exercises.
Li stening/ Attunement
Empathy Focus
Discussion

Readings/Homework:
La Gallienne, E. (?). Mystic of the Theatre. (Another excerpt)
Homework: Role Analysis (Dayton, T. #21)

Due:
Journal #6

Week 8: Character

Class content:
Questions/Thoughts/Concerns
Journal Feedback Returned
Homework Discussion
Warm up
Improv Exercises:
Empathy to character focus
Discussion: How is the self connected to playing another?
Readings/Homework:
Work on your paper

Due:
Journal #7
Art/Psychology Paper

Week 9: Emotion

Class content:
Questions/Thoughts/Concerns
Warm-up
Improv Exercises:
Emotional Work, Freeing emotion within the boundaries of character

Readings/Homework:
Spolin (Emotion)
Homework: Scene with an emotional shift (Napier, pg 119)

Due:
Journal #8

Week 10: Scenes

Class content:
Questions/Thoughts/Concerns
Role-play Lecture/Discussion
Warm-up
Improv Exercises: Putting it together
Readings/Homework:
Napier (pages 29-71)
Homework: Go see an improv show (Free shows available, check out 10, Second City,
Annoyance, Comedy Sportz, etc.). If unable, please contact me for alternative
assignment. Then do. Notes on good acting (Napier, p. 126).

Due:
Journal #9

Week 11: Role-Play

Class content:
Questions/Thoughts/Concerns
Homework Discussion
Warm up
Exercises. Role-plays with partner
Readings/Homework:
Role-play reading - perhaps some Rogers
Homework: Character Interview (Napier, page 114)
Continue with this character as he/she will be the client you portray in the in-class role-
plays. Try to spend time each night imagining the circumstances of this client's life (as
the client!)

Due:
201
Journal #10

Week 12: Playback Introduction

Class content:
Questions/Thoughts/Concerns
Homework Discussion
Playback Lecture/Discussion
Warm up
Exercise: Playback Scenario
Possible continuation of role-plays
Discussion

Readings/Homework:
Fox
Salas

Due:
Journal #11

Week 13: Playback/Image Theatre

Class content:
Questions/Thoughts/Concerns
Homework Discussion
Image Theatre Lecture/Discussion
Connection to Playback
Warm up
Exercise: Playback scenarios
Re-enact scenes for a different outcome

Readings/Homework.
Image Theatre/Augusto Boal

Due:
Journal #12

Week 14: Playback Continued

Class content:
Questions/Thoughts/Concerns
Homework Discussion
Warm Up
Exercises: More playbacks (want everyone to have chance to be facilitator and
storyteller)
Improv if time

Readings/Homework:
Boal, Salas, and Fox readings

Due:
Journal #13

Week 15: Playback and Improv - Back to Psychology

Class content:
Questions/Thoughts/Concerns
Homework Discussion
Connect improv, acting, and playback back to work as psychologists
Warm-up
Exercises:
Favorites

What will help them prepare for final?

Reading/Homework:
Emunah, R. - Article about training therapists using drama
Landy, R.
May, R. Courage to Create excerpt
Due:
Journal # 14 (Last j ournal!)

Week 16: Final Improv and Playback Performance

Class content:
Questions/Thoughts/Concerns
Performance!

Academic Integrity Policy:

Statement of Academic Honesty:

The Chicago School expects its students to function within an environment of trust
relative to other students, faculty, staff, and administration. Moreover, the school expects
all students to conduct themselves ethically, with personal honesty, and with
professionalism. Academic dishonesty violates one of the most basic ethical principles in
203
an academic community, and will result in sanctions imposed under the school's
disciplinary system. Incidents will be immediately referred to the Program Director or
Vice President for Academic Affairs for investigation, intervention, and/or imposition of
sanctions. The Student Affairs Committee may be convened to review the student's
situation. Possible interventions and sanctions may include, but are not limited to,
developing a remediation plan, placing a student on academic warning, suspending or
dismissing a student. Academic dishonesty includes, but is not limited to:

CHEATING: In any form, including but not limited to, giving or receiving aid on tests,
giving or receiving test materials prior to official distribution, or collaborating on
assignments or exams without instructor permission.

PLAGIARISM. The use or reproduction of another's work without appropriate

attribution. The school expects all students to produce original work in their papers,
coursework, dissertation, and other academic projects and to follow appropriate rules
governing attribution.

FABRICATION: Inventing information or citations in an academic or clinical exercise.

Technology and Privacy.

Data files and messages traversing the school's network are not private communications.
A user's privacy is superseded by the school's requirement to maintain the network's
integrity and the rights of all network users. For example, should the security of the
network be in danger, user files and messages may be examined under the direction of the
Vice President of Administration, or the Director of Information Technology. The school
reserves its right, as owner of the network and the computers in question, to examine, log,
capture, archive, and otherwise preserve or inspect any messages transmitted over the
network and any data files stored on school-owned computers, should circumstances
warrant such actions. All members of the community must recognize that electronic
communications are by no means secure, and that during the course of ordinary
management of computing and networking services, network administrators may
inadvertently view user files or messages.

Policy on Disability Accommodation:

The Chicago School complies with all laws and regulations regarding the access of
disabled individuals to education and works to insure that no qualified student with a
disability is denied the benefits of, or excluded from participation in, any school program
or activity. Disabled students may request reasonable accommodations including but not
limited to adaptations in the way specific course requirements are accomplished, the use
of auxiliary equipment and support staff, and other modifications including testing
procedures. This request must be accompanied by appropriate documentation that
establishes that the student has a specific disability and that supports the
accommodation(s) requested. The school reserves the right to select the specific aids and
services it provides, as long as it deems they will be effective for the student and do not
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fundamentally alter the Program or academic standards. Such aids and services are
determined on a case-by-case basis in consultation with the student who has identified the
need for accommodation. Please see the Director of Student Services regarding requests
for accommodation.

(These were all takenfrom Chicago School syllabi)

Special Issues:
Any student experiencing any difficult surrounding the class material or participation
should please discuss this with the professor at any time. I understand that this way of
working may be new to many of you, and this newness may be uncomfortable at first,
please try to engage as much as possible in order to become more comfortable in the
class.
(This section highlights again that I realize this type of class may be a very new way of
working and, therefore, may create anxietyfor students. I want them at the very least to
try to work through this anxiety to hopefully become more comfortable in class and
working in this style.)

Integration of Adult Learning Models: (Much of this is mentioned throughout)

1. Bloom's Taxonomy
2. Transfer - use several methods (i.e. readings, journals, discussion) in attempt to
transfer learning from the course to other courses and the therapist/client relationship.
3. Student-centered learning (journals, small and large group discussion, research paper,
group enactments/performance)
4. Utilizing different styles of teachingfor various student learning styles
5. Enhancing personal developmentfor the student (through self-awareness and use of
the self in drama/improv). This is highlighted in Angelo and Cross's 6-Factor Model of
Teaching Goals.

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