以表達性藝術活動暖身的心理劇工作坊成員之參與經驗的研究

• Main Author: 郭敏慧
• Other Authors: 陳金燕
• Format: Others
• Language: zh-TW
• Published: 2011
• Online Access: http://ndltd.ncl.edu.tw/handle/10439914319530523461

博士 === 國立彰化師範大學 === 輔導與諮商學系所 === 99 === This study aimed to explore how the participants experienced the expressive art warm-up used by the psychodrama workshop and how the warm-up influenced these members’ participating process in this continuous workshop, including protagonist, auxiliaries and audience. Meanwhile, this study also intended to understand how the members interpreted their experience after participating the workshop. There were ten participants in this one-day continuous workshop. The researcher conducted in-depth interview individually in one week and half a year after the workshop and adopted hermeneutical phenomenology for data analysis. The results of this study were as follows. I. As for how the members experienced the expressive art activities for warm-up, the expressive art activities for warm-up provided the members a specific time and space, where they were the dominators. In this space, the characteristics of expressive art activities for warm-up not only helped the members establish the me-me encounter, but also helped them transcend time and space to encounter their unconsciousness and unfinished business as well as to connect their mind and body. Moreover, the warm-up also reified the situations of their selves. At last, the sharing of drawings and choosing the protagonist helped the members achieve the me-you encounter and understand each others’ situation. II. As for how the expressive art warm-up activities influenced the participating process in the workshop, the protagonist’s performance didn’t remind the auxiliaries and audience of their drawings about their selves, but helped some of the members realize the meaning of their drawings. 1. In the aspect of the protagonist, the psychodrama performance deconstructed the drawings of the warm-up activities, verbalized and reified the figures and colors. Besides, it also helped the members realize the situations of their selves through the mirror technique. In the III process of performance, the members encountered the issues of existence, transformed their selves, felt hopeful and reinterpreted their drawing. 2. In the aspect of auxiliary, the process of choosing drawings mutually produced telepathy. Moreover, the members experienced and accepted their selves through playing the role of auxiliary, so as to expend the role category of their selves and interpret the self experience in the warm-up activities. 3. In the aspect of audience, watching the protagonist’s performance helped the audience create new understanding about their selves, whether they had similar experience stories or not. Meanwhile, some of the members realized their personal experience in the warm-up activities due to watching the protagonist’s performance. III. As for how the members interpreted their experience after the psychodrama workshop, the time and space of the workshop helped them to explore their selves during the encounter of me-me and me-you, and some members even experienced self-healing. In addition, most of the members integrated the experience into their daily lives, continuously enhancing self-awareness, changing and practicing. IV. As for the essence of group psychotherapy, this study utilized the analogy of the time capsule and kaleidoscope to describe the therapeutic process and the person in the therapy, and also explained the essence of group psychotherapy of psychodrama, in order to respond to spirit of hermeneutical phenomenology.