ABSTRACT:

Many leadership development methods involve a degree of role-playing, including basket-case scenarios, business simulations, serious games, educational live-action role-playing games, coaching interventions, etc.

In this presentation, I outline my PhD research that attempts to contextualize the role that Moreno-rooted dramatic methods like sociodrama can take in leadership development interventions.

After this session participants will be able to compare sociodrama to other methods in leadership development, and define their similarities and differences. Participants will also be able to report on the current state of sociodrama research.

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ABSTRACT:

This is a presentation of the experience of an online supervision group (and some face-to-face ones) in which we used the group dispositive of Dramatic Multiplication as a methodology to decentralize the figure of the supervisor, in the direction of a more collective and co-vision stance. In this presentation we will talk about Dramatic Multiplication, its effects in a supervision group and a reflection on the songs sung in the sessions, as a commentary on the experience. After this session participants will be able to explore more possibilities of decentralised supervision.

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ABSTRACT:

This presentation describes the way sociodrama was used in the context of an innovative transdisciplinary project entitled “Transition to 8: Bridging social issues, tech and contemporary art”, that applied multimodal methods for studying the impact of social issues on citizens and bridging them with technology and contemporary art.
Along with other participatory arts-based approaches, such as the use of social theatre (Saldaña, 2011), sociodrama has developed in recent years from an innovative method of qualitative analysis for social issues into a major transformative intervention for community development (Conrad & Sinner, 2015). In this study, we used sociodrama as an approach that is both inherently embodied and socially minded. Data generation took place in the context of six sociodrama sessions that is, two sessions per subject (environment, labour, migration), in which Eleusis residents were called upon to enact their perspectives, concerns and experiences regarding living in Eleusis on topics that were identified as central concerns for the local community. Each session lasted approximately one-and-a-half hours. The sessions were facilitated by two experienced sociodramatists, members of the research team, who introduced the rationale, the process and the activities of the sessions. In line with the researchers’ interest in multimodal research, the sessions were video- and audio-recorded. Biometric data via wearable sensor, resembling that of smart watches, measuring physiological signals affiliated with emotional arousal were obtained from the participants who felt comfortable wearing the devices.
Data from the sessions were provided to artists, in the form of sound, visual, biometric and verbal elements, which constitute sources of inspiration for their artistic productions. Examples from the research findings will be presented in a multimodal way.

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ABSTRACT:

This presentation highlights the intersection of historical research on ancient performance-oriented healing rituals and the contemporary practices of psychodrama and sociodrama, showcasing the mutual interest shared by historians and therapists.

My work delves into the evolution of ancient therapeutic rituals. One notable example is the practice within the cult of Asklepios, the Greek god of medicine. Its rituals centered around therapeutic incubation, or ritual dreaming, where devotees sought divine intervention and healing through dream visions. This ritual’s evolution is intricately linked to theater, as sacred performances in theaters were employed to make divine experiences accessible to worshippers even before they engaged in ritual dreaming. These practices not only nurtured individual imagery but also formed therapeutic communities. Devotees, all seeking divine visions for healing, found themselves restored to meaningful social roles due to their intimate connection with the divine and the invisible realm.

The prospect of engaging in dialogue with therapists and researchers immersed in psychodrama and sociodrama methods holds great promise for mutual enrichment. Historical insights can contribute to innovative approaches in modern therapy, while therapists can offer valuable perspectives to deepen our understanding of ancient therapeutic rituals’ dynamics. This synergy offers the potential for a more profound comprehension of the intricate interplay between performance and therapy across time.

1. Participants will develop the ability to discern meaningful correlations between ancient performance-based traditions and contemporary psychodrama and sociodrama therapeutic methods.
2. Participants will enhance their existing skill sets by integrating well-researched insights from the historical utilization of performance as a therapeutic modality.

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ABSTRACT:

This presentation will look into the metatheatrical aspects of Anton Chekhov’s “The Seagull,” with a special focus on the play that Treplev, one of the characters, stages. We use Jacob L. Moreno’s sociodrama theory to understand how personal problems and social rules are connected in the play. A key part of this is the new kind of play Treplev creates, which is very different from the traditional theater that his mother, Arkadina, represents. We analyze how Treplev is trying to find his own artistic voice and identity, showing the big conflicts between different generations and ideas at that time.

In this presentation, we will use sociodrama to look at important themes like being true to art, problems within families, and the pressure to follow social norms. We also think about how the audience is involved in this metatheatrical setting. This shows how Chekhov mixes acting and real life, making people think about their own roles and identities in society.

To end, we will see “The Seagull” as a strong tool for sociodrama. It shows complicated relationships between people and social expectations, and it makes us think deeply about art, who we are, and how people interact with each other. This deep look at Chekhov’s play gives us a new way to see its lasting importance and artistic beauty.

Learning Objectives:
1. Attendees will learn to find and understand the metatheatrical parts in “The Seagull,” and see why they are important for showing social and personal issues.
2. Participants will learn more about how drama can be used to study society and psychology, and see how dramatic literature affects how the audience sees and interacts with the play.

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