Submitted by Nadir Basilio (nadirsb@uninove.br) on 2016-05-16T15:32:13Z No. of bitstreams: 1 Silvana Gondim.pdf: 801060 bytes, checksum: 273a5371ac8d25e871216efe0dc29420 (MD5) / Made available in DSpace on 2016-05-16T15:32:13Z (GMT). No. of bitstreams: 1 Silvana Gondim.pdf: 801060 bytes, checksum: 273a5371ac8d25e871216efe0dc29420 (MD5) Previous issue date: 2016-03-31 / The object of this research-intervention was the Pedagogical Psychodrama with children with school problems. Its general objective is analyze the contribution of Pedagogical Psychodrama at psychopedagogic attendance with school problems. As the especific objective is the search of identify what are the school complaints about the children; see how children express themselves on different techniques of teaching psychodrama; verify if the ways which children express themselves in pedagogical psychodrama meetings corresponds or not to school complaints. It started from the hypothesis that the activities in educational psychology work associated with the psychodrama method enables children to express themselves and understand themselves as operant subject in the environment and can transform it according to their actions. It sought to answer the following questions: What are the school's complaints about the children? How children express themselves on different techniques of Pedagogical Psychodrama? The ways in which children express themselves in Pedagogical Psychodrama meetings corresponds or not to the school's complaints? The research universe was an OSCIP located in São Paulo and the subjects were 7, namely: 2 teachers of the regular school where children study and 5 children who compose the group. The methodology used was of qualitative nature of the intervention-research type and the data collection instrument were meetings with use of psychodrama method with a group of 5 children with school problems, beyond semi-structured interviews with two teachers. The speeches of children and teachers were analyzed guided by the Bardin content analysis (2012). The research was based on authors who discuss the following categories: Pedagogical Psychodrama: Maria Alicia Romaña and Alicia Fernández, Psychodrama: Moreno. As for the results it was found that at the beginning of the meetings children showed insecurity and lack of interest, but gradually became curious by the proposed work once it allowed moments of acceptance, awareness and self-reflection, allowing questions and apprenticeship shared in the group action, which influenced the decision-making, enabling the leadership. It was concluded that the educational psychodrama by giving voice to children enables them to express themselves so that they perceive them as acting subjects in the environment being able to transform it, they experience through the dramatization the conflict situations lived in daily life being able to reflect on them. / El objeto de esta investigación-intervención fue el Psicodrama Pedagógico con los alumnos de la escuela. Hubo por objetivo geral analisar la contribuición del Psicodrama Pedagógico en la atención psicopedagógico de los alumnos con dificultades de aprendizaje y con quejas escolares. Como objetivo específicos hemos buscado identificar cuáles son las quejas que acercan los niños en las escuelas; verificar las formas como los niños se expresan delante de diferentes técnicas en encuentros de Pscicodrama Pedagógico, sí corresponde o no las quejas de la escuela. Se partió de la hipotesis que las actividades del trabajo de la psicología educativa asociado con el método del psicodramatico permite que los niños se expresen y de percibirse cómo sujetos operantes en el medio y lo pueden transformar en función de sus acciones. Buscase contestar las siguientes preguntas:¿Cuáles son las quejas de las escuelas sobre los niños?. ¿Cómo los niños se expresan delante diferentes técnicas del Psicodrama Pepagógico?.¿Las formas como los niños se expresan en los encuentros de Psicodrama Pedagógico corresponde o no las quejas de la escuela?. El universo de la pesquisa fue una OSCIP localizada en la ciudad de São Paulo y los sujetos fueran siete (7), a saber: Dos (2) maestros de la escuela regular en cúal los niños estudan e cinco(5)niños que compoen el grupo. La metodologia utilizada fue de carácter cualitativo del tipo de pesquisa-intervención y la recolección de datos fueron los encuentros con el uso del método de psicodrama con un grupo de 5 niños con quejas escolares, así como entrevistas semi estructuradas con dos maestros. Los discursos de los niños y los maestros se analizaron guiados por el análisis de contenido de Bardin (2012). La investigación se basa en autores que hablan de las siguientes categorías: Psicodrama Pedagógico: Maria Alicia Romaña e Alícia Fernández,Psicodrama: Moreno. En cuanto a los resultados se encontró que al principio de los encuentros los niños mostró inseguridad y la falta de interés, pero poco a poco se convirtió en intrigado por el trabajo propuesto una vez permitido momentos de aceptación, sensibilización y auto-reflexión, permitiendo preguntas y el aprendizaje compartida en la acción del grupo, lo que influyó en la toma de decisiones, permitiendo el papel. Se concluyó que el Psicodrama Pedagógico é educativo para dar voz a los niños les permite expresarse de manera que ellos perciben como sujetos que actúan en el medio puede convertirlo, la experiencia a través del drama de las situaciones conflictivas encuentran en la vida diaria y puedan reflexionar sobre ellas. / O objeto desta pesquisa-intervenção foi o Psicodrama Pedagógico com crianças com queixa escolar. Teve por objetivo geral analisar a contribuição do Psicodrama Pedagógico no atendimento psicopedagógico de crianças com queixa escolar. Como objetivos específicos buscou-se identificar quais são as queixas da escola sobre as crianças; verificar como as crianças se expressam diante de diferentes técnicas do Psicodrama Pedagógico; verificar se as formas como as crianças se expressam nos encontros de Psicodrama Pedagógico corresponde ou não às queixas da escola. Partiu-se da hipótese que as atividades desenvolvidas no trabalho psicopedagógico associado ao método psicodramático viabiliza que as crianças se expressem e se percebam como sujeitos operantes no meio podendo transformá-lo em função de suas ações. Buscou-se responder às seguintes perguntas: Quais são as queixas da escola sobre as crianças? Como as crianças se expressam diante de diferentes técnicas do Psicodrama Pedagógico? As formas como as crianças se expressam nos encontros de Psicodrama Pedagógico corresponde ou não às queixas da escola? O universo da pesquisa foi uma OSCIP localizada na cidade de São Paulo e os sujeitos foram 7, a saber: 2 professores da escola regular na qual as crianças estudam e 5 crianças que compõem o grupo. A metodologia utilizada foi de cunho qualitativo do tipo pesquisa-intervenção e o instrumento de coleta de dados foram os encontros com utilização do método psicodramático com um grupo de 5 crianças que apresentam queixa escolar, além de entrevista semiestruturada com duas professoras. Os discursos das crianças e das professoras foram analisados pautados na análise de conteúdo de Bardin (2012). A pesquisa se fundamentou em autores que discutem as seguintes categorias: Psicodrama Pedagógico: Maria Alicia Romaña e Alícia Fernanández, Psicodrama: Moreno. Quanto aos resultados constatou-se que, no início dos encontros as crianças demonstravam insegurança e falta de interesse, porém aos poucos, tornaram-se curiosas com a proposta de trabalho uma vez que possibilitou momentos de acolhimento, sensibilização e autorreflexão, permitindo questionamentos e aprendizagem compartilhados na ação do grupo, o que influenciou as tomadas de decisões, permitindo o protagonismo. Concluiu-se que o Psicodrama Pedagógico ao dar voz às crianças possibilita que elas se expressem de modo que se percebam como sujeitos atuantes no meio podendo transformá-lo, vivenciam por meio da dramatização as situações de conflito vividas no cotidiano podendo refletir sobre elas.

Cette thèse montre comment le travail thérapeutique, en psychodrame existentiel de groupe, permet un accès direct à « l’être-du-patient », sans sacrifier du temps au démêlage des représentations. Dans ce cadre, la motion individuelle sollicitée se transforme, via l’intersubjectivité, pour se loger « entre » (aida) les membres du groupe. Elle y prend une forme transubjective qui s’amplifie par résonnance, pour délivrer une tonalité climatique singulière au groupe. J’ai nommé cette nouvelle dynamique : motion transubjective. Fonctionnant rythmiquement sur les pôles « ouverture-fermeture », la motion transubjective ouvre à l’espace corporel du Sentir, du « sens commun », et favorise un ajustement apaisé des patients au monde qui les entoure.Pour servir la thèse et modéliser ce concept, trois recherches-actions sont présentées (menées auprès de différentes populations : travailleurs sociaux, personnes atteintes de V.I.H. et personnes souffrant de psychose). Elles révèlent la valeur opératoire de la motion transubjective, au cœur même de l’intersubjectivité humaine, que cette dernière soit celle des foules, celle qui tient en contact les membres d’un groupe ou l’aida que créent ensemble le thérapeute et son patient. Enfin, ces trois recherches-actions concourent, en psychologie clinique, à la modélisation d’un processus émergent d’autoréalisation de soi, dans la rencontre avec le monde, qui se déploie dans la sphère de la corporalité.Outre la proposition d’un outil groupal -le psychodrame existentiel- cette thèse en discute les conditions de mise en œuvre (en termes de dispositif d’intervention clinique) afin d’en comprendre les leviers thérapeutiques. / This thesis shows how therapeutic work, in an existential psychodrama group, enables the therapist to access directly to “the-patients’-being”, without spending some time unravelling representations. In this context, the individual motion is triggered. Then, it transforms, via intersubjectivity, to place itself “between” (aida) the members of the group. There, it turns into a transubjective form which expands through resonance to deliver a peculiar climatic tone to the group. I have named that new dynamism: transubjective motion. As it functions dynamically according to the “opening-closing” poles, the transubjective motion permits the opening to the Feeling body space to the “common sense” space, enabling the patient to have a pacified relationship to the world around.In order to demonstrate our thesis and to model the concept, three researches-actions are presented (they were conducted among different populations: social workers, persons suffering from H.I.V and psychotic patients.) They reveal the operational value of the transubjective motion, situated at the heart of human intersubjectivity, whether it reveals itself in a crowd, between the members of a group, or the aida created by the therapist and his/her patient. Finally, those three researches-actions contribute, in clinical psychology, to the modelling of an emergent process of one’s being selfrealization through the relationship to the world around, expressing itself in the area of corporality.Beyond proposing a group therapy method -the existential psychodrama- this thesis analyses the conditions for its implementation (in terms of clinical intervention experience) in order to understand its therapeutic efficiency.

Prenant le parti de la valeur mutative du psychodrame psychanalytique, cette recherche vise une description métapsychologique de ce qui en fonde l'efficacité, comme de ses spécificités dans la mise en oeuvre des desseins psychothérapiques de la psychanalyse. L'exemple du renforcement pulsionnel propre à l'adolescence questionne les capacités de symbolisation et de montage pulsionnel permis tant par l'appareil psychique que par les dispositifs (de prothèse ou de détour) que sont les dispositifs psychothérapiques. Trois études longitudinales constituées par des récits de cures psychodramatiques d'adolescents donnent un appui à la construction d'une « figurabilité» spécifiquement psychodramatique grâce à trois opérateurs, nommés le « narratif », le « scénique » et le « dramatique ». Le but de cette recherche est la fabrique métapsychologique de ces opérateurs à l'intersection de la pratique en séance et de la littérature psychanalytique. La notion freudienne de « figurabilité » sert de cadre à la construction de ces opérateurs et à ce qu'ils articulent des capacités de symbolisation du psychisme et de celles d'un dispositif de psychothérapie. La continuité d'un éprouvé de subjectivation permis par l'opérateur du « narratif » se complète des spécificités fictionnelles de la narrativité psychodramatique. De salutaires contournements des mécanismes de censure et une plus ample fréquentation de la réalité psychique soutiennent ainsi la mise en forme des quantités pulsionnelles. La circulation de la notion de « scène » dans la métapsychologie décrit la dimension processuelle que soutient l'opérateur du « scénique ». Si la mise en scène est au service du saisissement conscient, elle opère aussi par le recours à l'hallucinatoire. Ce que la scène du psychodrame permet d'une distinction des objets et contraint d'un commerce avec eux est un facteur subjectivant d'« objectalisation » qui fait contrepoids au repli narcissique. L'objet fabriqué par le psychodrame naît des capacités d'accordage de la scène psychodramatique, celles-ci étant décrites à travers leur usage singulier de la transitionnalité. Enfin, l'opérateur du « dramatique » déploie la fécondité des modes de présence de l'acte dans la représentation psychodramatique. L'excitation véhiculée par le jeu en groupe appelle un travail constant de mise en forme qui utilise divers médiums expressifs. L'objet est à la fois celui qui provoque les quantités d'excitation et celui qui en soutiendra la liaison. L'activité figurative s'articule à une activité pare-excitante qui peut relancer l'activité régulatrice du refoulement. Entre impression et expression, l'activité esthétique du jeu de l'acteur consiste en la modulation des valeurs attribuées aux représentations. Le « dramatique » peut alors se définir comme un art des variations en quête de sens. Les objets de sens issus de ces variations d'affectation sont ensuite détaillés comme visée topographique et subjectivante des entrelacs entre réalité matérielle et réalité psychique. Par sa mise en jeu et en scène, une place de représentation est plus aisément donnée ou re-donnée au transfert afin d'en défaire la potentialité agissante. Pour finir, le dernier récit clinique permet de montrer l'utilité et le caractère structurant de ces opérateurs dans la mise en scène adolescente du second acte de la dramaturgie oedipienne. / Granting that psychoanalytic psychodrama can effect change, this project seeks to produce both a metapsychological description of the basis for its effectiveness and an account of the specific ways in which it pursues the therapeutic aims of psychoanalysis. The example of adolescent drive reinforcement raises questions about the capacities for symbolization and for the organization of drives that are made possible as often by the psychic apparatus as by the mechanisms (whether of prostheses or of detours) of psychotherapy. Three longitudinal studies, narratives of psychodramatic treatments of adolescents, anchor the construction of a specifically psychodramatic "figurability" with three modalities, the "narrative", the "scenic", and the "dramatic". This research project aims to produce a metapsychological account of these modalities at the intersection between clinical practice and the psychoanalytic literature. The Freudian notion of "figurability" serves as the framework for constructing these modalities and for representing their capacity to symbolize the psyche and to articulate a psychotherapeutic instrument. The continuity of an experience of subjectivization permitted by the "narrative" modality is completed by the fictional specificities of psychodramatic narrativity. Salutary evasions of the mechanisms of censorship and increased commerce with psychic reality thus support the shaping of drive quantities. The circulation of the notion of "scene" in metapsychology describes the dimension of process that is supported by the "scenic" modality. If the staging is at the service of a conscious awareness, it also operates through recourse to the hallucinatory. What the scene of psychodrama permits regarding a distinction of objects and constraints regarding interactions with them, is a subjectivizing factor of "objectalization" that provides a counterweight to narcissistic retreat. The object created by the psychodrama grows out of the capacities for harmonization of the psychodramatic scene, the capacities being described through their singular use of transitionality. Finally, the "dramatic" modality unfolds the fecundity of the modes of presence of the act in psychodramatic representation. The excitement conveyed by group play-acting calls for a constant work of shaping which uses various expressive media. The object is at once the one that provokes quantities of excitement and the one that will support their linking. The figurative activity is articulated with a protective shield that can relaunch the regulating activity of repression. Between impression and expression, the aesthetic activity of the actors performance consists in the modulation of the values attributed to the representations. The "dramatic" can then be defined as an art of variations in search of meaning. The meaningful objects that emerge from these variations of affectation are then scrutinized as the topographic and subjectivizing aim of the interlacings between material reality and psychic reality. By being set into play and put on stage, a place of representation is more easily given or restored to the transference so as to undo its "agieren" effective potentiality. In conclusion, the last clinical narrative makes it possible to show the utility and the structuring character of these modalities in the adolescent staging of the second act of the Oedipal drama.

Text in Afrikaans / Egskeidings en daaropvolgende hersaamgestelde gesinne neem toe. Die literatuur sowel as praktykervaring van die navorser het bewys dat die aanpassing in 'n hersaamgestelde gesin veral vir die adolessent traumaties is. Uit 'n literatuurstudie is bepaal watter probleme/behoeftes adolessente in hersaamgestelde gesinne ervaar. Die nominale groepstegniek is gebruik ten einde probleme/behoeftes te verfyn. Dit het uitgewys dat probleme in hersaamgestelde gesinne voortspruitend is uit kommunikasieprobleme. Die groepwerkproram met stiefadolessente is dus daarvolgen opgestel. Psigodrama word beskou as die mees ideale benadering in groepwerk met adolessente. Twee meetskale is gebruik, te wete 'n kommunikasievraelys en die Hudson-indeks wat gewysig is vanaf ouerlike verhoudings na stiefouerlike verhoudings. 'n Voorondersoek groep is met vyf stiefadolessente oor vyf byeenkomste en 'n eksperimentele groep met tien stiefadolessente oor tien byeenkomste aangebied. Voor- en nameting is gedoen. Op beide meetskale is groei in vaardighede gemeet en is die navorser se doelstelling bereik / Divorces and remarriages are increasing. The literature study and practical experience of the researcher, has shown that the adaption to remarriage is the most traumatic for adolescents. A literature study was done to determine the problems/needs of adolescents in remarried families. The nominal group technique was then used to refine the problems/needs. The results showed clearly that problems in remarried families are a result of communication problems. The group work programme with stepadolescents was therefore composed. Psychodrama is the most ideal method in working with adolescents. Two measuring instruments were used, namely the communication questionnaire and the Hudson-index which was modified from parentchild relationships to step-parental relationships. A pilot study group with five step-adolescents over five meetings and an experimental group was then held with ten step-adolescents over a period of ten meetings were held. Measurement was done before and after the group meetings. Both measuring instruments recorded growth in skills and the researcher's objective was reached / Social Work / M.A. (Sosiale Wetenskappe)

Text in Afrikaans / Egskeidings en daaropvolgende hersaamgestelde gesinne neem toe. Die literatuur sowel as praktykervaring van die navorser het bewys dat die aanpassing in 'n hersaamgestelde gesin veral vir die adolessent traumaties is. Uit 'n literatuurstudie is bepaal watter probleme/behoeftes adolessente in hersaamgestelde gesinne ervaar. Die nominale groepstegniek is gebruik ten einde probleme/behoeftes te verfyn. Dit het uitgewys dat probleme in hersaamgestelde gesinne voortspruitend is uit kommunikasieprobleme. Die groepwerkproram met stiefadolessente is dus daarvolgen opgestel. Psigodrama word beskou as die mees ideale benadering in groepwerk met adolessente. Twee meetskale is gebruik, te wete 'n kommunikasievraelys en die Hudson-indeks wat gewysig is vanaf ouerlike verhoudings na stiefouerlike verhoudings. 'n Voorondersoek groep is met vyf stiefadolessente oor vyf byeenkomste en 'n eksperimentele groep met tien stiefadolessente oor tien byeenkomste aangebied. Voor- en nameting is gedoen. Op beide meetskale is groei in vaardighede gemeet en is die navorser se doelstelling bereik / Divorces and remarriages are increasing. The literature study and practical experience of the researcher, has shown that the adaption to remarriage is the most traumatic for adolescents. A literature study was done to determine the problems/needs of adolescents in remarried families. The nominal group technique was then used to refine the problems/needs. The results showed clearly that problems in remarried families are a result of communication problems. The group work programme with stepadolescents was therefore composed. Psychodrama is the most ideal method in working with adolescents. Two measuring instruments were used, namely the communication questionnaire and the Hudson-index which was modified from parentchild relationships to step-parental relationships. A pilot study group with five step-adolescents over five meetings and an experimental group was then held with ten step-adolescents over a period of ten meetings were held. Measurement was done before and after the group meetings. Both measuring instruments recorded growth in skills and the researcher's objective was reached / Social Work / M.A. (Sosiale Wetenskappe)

<p>Uporednom analizom elemenata psihodrame i socidrame s jedne i filmske metodologije reditelja Želimira Žilnika sa druge strane, u ovom radu ukazano je na funkcionalnu korelaciju poreĊenih disciplina. Evidentna srodnost psihodrame i sociodrame sa metodologijom rada na filmu upućuje na mogućnost njihove metodolo&scaron;ke interakcije, ĉime se ujedno i pro&scaron;iruje polje paradigmatskih okvira u metodolo&scaron;koj praksi filmskog stvarala&scaron;tva. Strukturu rada čini osam poglavlja. U teorijskom delu dat je pregled ključnih načela i metodolo&scaron;kih koncepata psihodrame i sociodrame, zatim su razmatrane metodolo&scaron;ke osnove specifiĉnog filmskog podţanra dokudrame. U prvom delu istraţivanja analiziran je autentični filmski jezik Želimira Žilnika najizrazitijeg predstavnika dokudramskog pravca kod nas, a potom su u drugom delu izvedeni zaključci o dominantnim korelativnim elementima poređenih metodologija. Ključno zapažanje koje proističe iz sprovedene komparacije ukazuje na evidentno postojanje psihodramskih i sociodramskih elemenata u specifiĉnoj metodologiji Želimira Žilnika kao dominantnih odrednica pomoću kojih autor na impresivan naĉin koristi fleksibilni potencijal dokudrame u balansu između dokumentarne i igrane forme. Specifiĉnost ovakve autorske orijentacije je da kroz kreiranje imaginarne filmske priĉe principom dramske rekonstrukcije stvarnosti ističe ono &scaron;to u realnom svetu ima za podlogu indeksiĉnu proverljivost. Potvrđujući hipotezu o funkcionalnoj primenljivosti naučnih saznanja u umetniĉkom procesu, konkretno na primeru paralelizma socijalne psihologije i filma, rezultati ovog istraţivanja otvaraju mogućnost formiranja polazne osnove za dalja istraţivanja u oblasti filmologije, naroĉito u domenu dokudrame, a mogu imati pedago&scaron;ke implikacije u radu sa studentima, mladim autorima, kao i sa svima koji žele da pro&scaron;ire svoju metodologiju primenom ovakvog specifiĉnog - interdisciplinarnog pristupa.</p><p>&nbsp;</p>

Unresolved painful emotional experiences such as bereavement, trauma and disturbances in core relationships, are common presenting problems for clients of psychodrama or psychotherapy more generally. Emotional pain is experienced as a shattering of the sense of self and disconnection from others and, when unresolved, produces avoidant responses which inhibit the healing process. There is agreement across therapeutic modalities that exposure to emotional experience can increase the efficacy of therapeutic interventions. Moreno proposes that the activation of spontaneity is the primary curative factor in psychodrama and that healing occurs when the protagonist (client) engages with his or her wider social system and develops greater flexibility in response to that system. An extensive case-report literature describes the application of the psychodrama method in healing unresolved painful emotional experiences, but there is limited empirical research to verify the efficacy of the method or to identify the processes that are linked to therapeutic change. The purpose of this current research was to construct a model of protagonist change processes that could extend psychodrama theory, inform practitioners’ therapeutic decisions and contribute to understanding the common factors in therapeutic change. Four studies investigated protagonist processes linked to in-session resolution of painful emotional experiences. Significant therapeutic events were analysed using recordings and transcripts of psychodrama enactments, protagonist and director recall interviews and a range of process and outcome measures. A preliminary study (3 cases) identified four themes that were associated with helpful therapeutic events: enactment, the working alliance with the director and with group members, emotional release or relief and social atom repair. The second study (7 cases) used Comprehensive Process Analysis (CPA) to construct a model of protagonists’ processes linked to in-session resolution. This model was then validated across four more cases in Study 3. Five meta-processes were identified: (i) a readiness to engage in the psychodrama process; (ii) re-experiencing and insight; (iii) activating resourcefulness; (iv) social atom repair with emotional release and (v) integration. Social atom repair with emotional release involved deeply experiencing a wished-for interpersonal experience accompanied by a free flowing release of previously restricted emotion and was most clearly linked to protagonists’ reports of reaching resolution and to post session improvements in interpersonal relationships and sense of self. Acceptance of self in the moment increased protagonists’ capacity to generate new responses within each meta-process and, in resolved cases, there was evidence of spontaneity developing over time. The fourth study tested Greenberg’s allowing and accepting painful emotional experience model as an alternative explanation of protagonist change. The findings of this study suggested that while the process of allowing emotional pain was present in resolved cases, Greenberg’s model was not sufficient to explain the processes that lead to in-session resolution. The protagonist’s readiness to engage and activation of resourcefulness appear to facilitate the transition from problem identification to emotional release. Furthermore, experiencing a reparative relationship was found to be central to the healing process. This research verifies that there can be in-session resolution of painful emotional experience during psychodrama and protagonists’ reports suggest that in-session resolution can heal the damage to the sense of self and the interpersonal disconnection that are associated with unresolved emotional pain. A model of protagonist change processes has been constructed that challenges the view of psychodrama as a primarily cathartic therapy, by locating the therapeutic experience of emotional release within the development of new role relationships. The five meta-processes which are described within the model suggest broad change principles which can assist practitioners to make sense of events as they unfold and guide their clinical decision making in the moment. Each meta-process was linked to specific post-session changes, so that the model can inform the development of therapeutic plans for individual clients and can aid communication for practitioners when a psychodrama intervention is used for a specific therapeutic purpose within a comprehensive program of therapy.

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