SOCIODRAMA AND ROLE-PLAY: THEORIES AND INTERVENTIONS

Cybele Maria Rabelo Ramalho

doi:10.15329/2318-0498.20814

Cybele Maria Rabelo Ramalho

Open Access

https://doi.org/10.15329/2318-0498.20814

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Abstract

This article presents the sociodramatic method developed by Jacob Levy Moreno (origin, definitions, unfolding, characteristics, modalities, objectives), differentiating it from psychodrama, as well as presents the role-play, in sociopsychodramatic practice, especially for socioeducational purpose. It illustrates the application of these modalities with brief accounts of the author’s experience with groups in sociodramatic acts and processes. It reports an institutional experience with retired elderly citizens, held for six months, using as initiators, tales for adults that bring archetype themes common to this age group; another experience with several thematic workshops, focused on the development of female roles, using the technique of the living museum; finally, an experience of supervision with graduation students, held during two university terms.

Highlights

In the Morenian approach, the human being is seen as a person inserted in a world ordered by cultural conserves, tending to repeat his relational experiences in a growing process of automation, which keeps him away from spontaneity and freedom, sickening his personal relationships
In the face of this contradiction, Jacob Levy Moreno created socionomy in order to promote the transformation of social groups by developing methods, concepts and instruments with a view of learning about the social tensions in the here and in status nascendi, a movement which involves everyone in coparticipation and coresponsibility
This article aims to be faithful to Moreno’s statement, which characterizes that the use of psychodrama only in private offices would be like using an airplane to go around the corner. It defends the importance of using sociodrama and role-playing in the socioeducational context

Summary

Introduction

In the Morenian approach, the human being is seen as a person inserted in a world ordered by cultural conserves (with its collective laws and ideologies), tending to repeat his relational experiences in a growing process of automation, which keeps him away from spontaneity and freedom, sickening his personal relationships. The work starts with the transition from the social context to the group with a focus on group interaction; scenes are developed and dramatized, they perform soliloquy and form subgroups according to common interests.

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Conclusion