||Directing Psychodrama on Stage
||Journal 29 December 2020
||director, encounter, humanity, love, photography, protagonist, Psychodrama, role
||It is 10 am. I am sitting at the edge of a horse shoe of 8 chairs on the stage of the dilapidated Crystal Palace Theatre in Mt Eden. It is freezing and a vast blackness stretches upwards and beyond the first few rows of chairs that I can make out. I draw my attention down and into the group, I take in the stage lights set up around the group, the lighting technician adjusting things at the edge of the circle, Yvonne looking on with her camera. Now I can see the people in the group I will be working with, some I know well and we exchange easy smiles, others are new to me and new to the psychodrama method, sent along by enthusiastic friends to a free workshop. Briefly, I get anxious as I consider their experience, this must seem crazy to them, to be sitting in this place among all of this.
||A Place to Meet: Reflections on Group Improvisational Processes on Zoom
||Journal 29 December 2020
||creativity, director, German, J L Moreno, Moreno, poetry, protagonist, Psychodrama, spontaneity, warm-up
||Introduction It’s been a month since I worked face-to-face. The studio is looking decidedly casual. It’s become a place to hang out rather than a place to work. In the first weeks of Covid-19 lockdown, as I considered what my working life might look like in the next while, the word ersatz came to me. It’s a term borrowed from the German language meaning replacement, substitute, imitation, fake. In WW1 and WW2 ersatzbrot (substitute bread) was made with potato starch and sawdust and fed to prisoners who starved of malnourishment. I don’t want to create ersatz anything.
||Creative Genius: A Spark in a Cloud of Unknowing
||Journal 22 December 2013
||creative genius, creativity, creator, director, genius, protagonist surplus reality, Psychodrama, spontaneity, tele and telic
||This article presents the author's conviction and work showing that a psychodrama director learns to follow the protagonist/client and trust a wide range of interactive communications. Their full nature may be hidden from the director. The protagonist can be unconscious of specifics or relevance. The writer accepts many cognitive functions of the central nervous system happen at a speed making conscious consideration impossible. Learning is not only an intentional act but is built into our mind-body functioning. This paper posits that the instances described involve dynamic inter-play of S factor (spontaneity) and C factor (creativity) within the Morenean universe of discourse, and considers creative genius as an integrative quality common in human functioning