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In its fully revised second edition, this book is devoted solely to the study of sociodrama, a group learning process that provides practice in solving problems of human relations through action while uncovering the commonalities among people, allowing the thoughts, feelings, and hopes of all who participate to rise to the surface. This insightful guide helps participants in group work to come to a new understanding about themselves, each other, and the world at large by providing a living laboratory for practicing new and more satisfying ways to approach problems, clarify values, express feelings, and practice new behaviors. The theoretical and practical guidance offered in this book will help management and staff trainers, educators, psychotherapists, sociologists, theatre artists, pastoral counselors, and others in or planning on joining the help professions to provide a vital modality for energizing even the most passive groups.

The expanded and revised second edition begins by showing the reader how to structure sociodrama sessions, how to facilitate the accomplishment of group goals through action, and how to avoid some of the pitfalls of sociodrama directing. It also includes the historical and theoretical foundations of sociodrama so that the practice of sociodrama can be placed in larger context. The second part of the book focuses on the use of sociodrama in a variety of settings, including the work place, the school, the political arena, psychotherapy, and spiritual settings. This section also provides methods of marketing sociodrama and essays by other well-known sociodramatists from around the world. Students, scholars, and educators in the social sciences and the arts, as well as business professionals, will find Sociodrama: Who's in Your Shoes? an invaluable guide to this effective learning process.

Tabla de contenidos provista por Syndetics

• Foreword(p. xiii)
• Acknowledgments(p. xv)
• Introduction(p. xvii)
• Part 1
• 1 Warming Up to Sociodrama(p. 3)
• Defining Socidrama(p. 3)
• Similarities and Differences: Sociodrama and Psychodrama(p. 5)
• Sociodrama, Creative Drama, and Role Play(p. 7)
• Historical-Theoretical Background: Foundations and Origins(p. 8)
• Moving Forward(p. 12)
• Summary(p. 12)
• 2 Examining Sociodrama Structure(p. 15)
• Sociodrama Components(p. 15)
• Sociodrama Goals(p. 21)
• Holistic Benefits(p. 24)
• Summary(p. 25)
• 3 Getting Started(p. 27)
• Discovering Common Denominators and Central Issues(p. 27)
• Designing a Warm-Up to Suit Your Group(p. 27)
• Warm-Ups and Ice Breakers(p. 30)
• Warm-Ups for Cohesive Groups(p. 33)
• Warm-Ups for Terminating Groups(p. 36)
• Summary(p. 37)
• 4 Moving from Warm-Up to Action(p. 39)
• Translating Individual Issues to Group Action(p. 39)
• Enlisting Enactors(p. 44)
• Interviewing the Enactors(p. 46)
• Setting the Scene(p. 47)
• Summary(p. 47)
• 5 Exploring Roles, Expanding Roles(p. 49)
• Examining Old Roles and Trying Out New Ones(p. 49)
• Exploring Differences between Individuals and Groups(p. 55)
• Summary(p. 56)
• 6 Structuring the Action(p. 57)
• Often-Used Techniques: What They Are, When to Use Them(p. 57)
• Summary(p. 71)
• 7 Assessing Needs and Meeting Goals(p. 73)
• Reviewing Themes(p. 73)
• Facilitating the Goal of Catharsis(p. 73)
• Facilitating Action Insight(p. 75)
• Facilitating Role Training(p. 76)
• Going with Resistance(p. 78)
• Finding the Balance between Letting Go and Self-Control(p. 79)
• Closing the Action(p. 81)
• Summary(p. 82)
• 8 Taking Stock and Moving Forward(p. 83)
• Setting the tone for Sharing(p. 83)
• Sharing Experiences(p. 84)
• De-Roling(p. 86)
• Reaching Closure(p. 86)
• Trying Out Alternative Solutions(p. 87)
• Summary(p. 88)
• 9 Focusing on the Stages of Group Development(p. 91)
• Identifying the Stages(p. 91)
• Facilitating the Formation Stage(p. 94)
• Facilitating the Stage of Power and Control(p. 95)
• Facilitating the Stage of Intimacy(p. 96)
• Facilitating the Stage of Separation and Individuation(p. 97)
• Facilitating the Termination Stage(p. 99)
• Summary(p. 101)
• 10 Mastering Directing Skills(p. 103)
• Warming Up for Directing(p. 103)
• Warming Up with the Group(p. 105)
• Creating a Safe, Nonjudgmental Environment(p. 107)
• Facilitating Group Process(p. 112)
• Summary(p. 116)
• 11 Examining Sociodrama Underpinnings(p. 117)
• Surveying Moreno's Theories(p. 117)
• Examining Moreno's Role Theory(p. 117)
• Exploring Spontaneity Theory(p. 123)
• Exploring Sociometric Theory(p. 129)
• Summary(p. 137)
• Part 2
• 12 Sociodrama in Theatre(p. 141)
• Defining Theatrical Areas(p. 141)
• Using Sociodrama in Theatre(p. 142)
• Creating Plays through Sociodrama(p. 143)
• Using Sociodrama in Theatre Education(p. 146)
• Using Sociodrama in Theatre-in-Education(p. 148)
• Summary(p. 149)
• 13 Sociodrama in Education(p. 151)
• Giving Background(p. 151)
• Using Sociodrama in Teaching History and Social Studies(p. 152)
• Using Sociodrama in Understanding Cultural Issues and in Teaching Languages(p. 153)
• Using Sociodrama in Teaching Literature(p. 156)
• Using Sociodrama in Teaching Psychology, Medicine, and Nursing(p. 157)
• Using Sociodrama in Adult Education(p. 158)
• Summary(p. 159)
• 14 Sociodrama in Religion, Ethics, and Spiritual Growth(p. 161)
• Developing the Balance through Sociodrama(p. 161)
• Exploring Ethical Questions and Clarifying Values(p. 161)
• Enlivening Scripture through Action(p. 163)
• Exploring Lives and Beliefs of Religious Leaders(p. 166)
• Exploring and Developing Spirituality(p. 167)
• Summary(p. 168)
• 15 Sociodrama in the Workplace(p. 169)
• Using Sociodrama in Business and the Professions(p. 169)
• Using Sociodrama to Train Personnel(p. 170)
• Using Sociodrama for Team Building and Networking(p. 174)
• Using Sociodrama to Meet Specific Needs of the Organization(p. 176)
• Using Sociodrama to Unlock Creativity and Generate New Choices(p. 179)
• Summary(p. 181)
• 16 Sociodrama in the Community(p. 183)
• Focusing on Origins(p. 183)
• Exploring Social Issues, Resolving Community Problems(p. 184)
• Exploring Prejudice through Sociodrama(p. 187)
• Summary(p. 190)
• 17 Sociodrama in Psychotherapy(p. 193)
• Giving an Overview(p. 193)
• Developing Social Skills(p. 194)
• Reducing Isolation(p. 196)
• Restoring Spontaneity(p. 196)
• Expanding Role Repertoire(p. 198)
• Enhancing Self-Esteem(p. 198)
• Learning New Behavior(p. 200)
• Summary(p. 203)
• 18 Marketing Sociodrama(p. 205)
• Identifying Strengths and Interests(p. 205)
• Focusing the Thrust of Your Marketing(p. 207)
• Identifying the Need in the Marketplace(p. 207)
• Designing the Program(p. 208)
• Approaching Potential Clients(p. 209)
• Preparing the Materials to Sell Your Product(p. 209)
• Determining Fees(p. 210)
• Summary(p. 210)
• 19 Pulling It All Together(p. 213)
• Hearing What Experienced Leaders Say(p. 213)
• Summary: Drawing Conclusions, Beginning Anew(p. 238)
• Appendix(p. 241)
• Bibliography(p. 255)
• Index(p. 261)
• About the Authors and Contributors(p. 265)

Notas de autor provistas por Syndetics

Patricia Sternberg, Registered Drama Therapist/Board Certified Trainer (RDT/BCT), is a Professor of Theatre at Hunter College in New York City, where she heads the Developmental Drama program.
Antonina Garcia, a certified Trainer, Educator, and Practitioner (TEP) by the American Board of Examiners in Psychodrama, Sociometry, and Group Psychotherapy is also a Registered Drama Therapist/Board Certified Trainer and a former Chairperson of that Board. She is a Fellow of the American Society of Group Psychotherapy and Psychodrama Dr. Garcia is a Professor and the Coordinator of the Creative Arts in Therapeutic Settings Option at Brookdale Community College in Lincroft, New Jersey.
Alton Barbour, PhD, TEP, is Professor of Human Communication Studies in the School of Communication at the University of Denver, Denver, Colorado.
John Bergman, RDT, MT, is the Founder and Director of Geese Theatre, He is a Drama Therapist working in prisons.
Allee Blatner is an author Adam Blatner is a child psychiatrist.
Dale Richard Buchanan, LICSW, PhD, TEP, is Executive Director of the American Board of Examiners on Psychodrama, Sociometry and Group Psychotherapy.
G. Max Clayton, ThD, TEP, is Director of the Australian College of Psychodrama; Director of Training in Psychodrama Institutes in Sydney, Australia, Auckland and Christchurch, New Zealand; Secretary, Board of Examiners, and distinguished member of the Australian and New Zealand Psychodrama Association.
Linda Gregoric Cook, RDT/BCT, is an Arts Connection Drama Artist/Master Teacher in the New Orleans Public Schools.
Abel K. Fink, Ed.D, TEP, is Professor of Educational Foundations, State University College of New York at Buffalo.
Ann E. Hale, MA, TEP, is located in Roanoke, Virginia, where she has a private consulting practice.
Andrew R. Hughey, PhD, Director, San Jose State University's Psychodrama Research Center; President, American Society of Group Psychotherapy and Psychodrama; Director of Associates for Community Interaction, Psychodrama Training Institute, San Jose, California.
Marcia Karp and Ken Sprague, are Co-Directors of Hoewell International Psychodrama Centre, North Devon, England.
Teena Lee, TEP, has run the Melbourne Centre of Psychodrama since 1977.
Rosalie Minkin, MSW, ATR (Art Therapist Registered), TEP, is Codirector, with Natalie Winters, TEP, of The East/West Center for Psychodramatic and Sociodramatic Studies.
Zerka T. Moreno, is Honorary President of the American Society of Group Psychotherapy and Psychodrama and Honorary Member of the Board of Directors of the International Association of Group Psychotherapy.
Herb Propper, PhD, CP, is Professor of Theater and Director of the Sociodrama Project at Johnson (Vermont) State College.
David F. Swink, MA, LICSW, TEP, is President of Strategic Interactions, Inc.
Ron Wiener is Associate Consultant in the School of Continuing Education at the University of Leeds, England.