Double
The doubling is a key method in the psychodrama and is also used in other forms of therapy and counseling. In mediation, for example, it is an aid when translating between disputing parties in conflict resolution and is therefore a mediation strategy. Difficult content can be transported from one conflict partner to the other by the mediator. The mediator presents the statement in such a way that the person addressed understands it and the person doubled still recognizes it as his.
In humanistic psychodrama, a double is a group member who appears next to the protagonist during protagonist-centered work . In a holistic communication process, supported by body language alignment, the inner experience of the protagonist is clarified, conveyed to the group and among other things promoted the ability to cognize and understand.
This game is made possible by the constant process of interaction between the group members as a double and auxiliary ego (fellow player), the protagonist and the therapeutic leader. It also develops its effect through dynamic processes within the group, which is why the protagonist game can also serve as a group therapeutic intervention.
Since the double process is to be understood as a communicative process, it always includes properties and effects in a larger context. Neither individual properties of the double nor the mechanisms of action of individual properties can be seen in isolation without understanding them in terms of a process-like change. It must be taken into account that the relationship structure between protagonist and double is expressed in the properties of the double and can be perceived there, so that the properties do not have to be considered separately with regard to the interactive events. So the double does not enter the double process with modified properties, but develops these properties in the interaction with the protagonist.
Function of the double
The doubles of the humanistic psychodrama show the effects described by the protagonist. Does the double act e.g. B. in the way that it makes suggestions to the protagonist and helps to shape the course of the action, the protagonist has gained knowledge, clarity, hope and especially insight. Raymond Battegay understands insight as a recognition of unconscious motivations based on past conflicts and a simultaneous first effort to correct behavior.
With the help of the double, the progressive discovery of one's own self-image, one's own identity during the protagonist play on stage can be represented and experienced in a dialogical conversation. The protagonist directs, the double has a mediating, supporting, helping function. Insight arises through the protagonist's own actions and experiences, the mediation arises in the game.
Consequences in the mediation process
Through mediation, the conflict party experiences a relief of negative feelings. There is an emotional deepening by slowing down and emotional enrichment of the conflict. Despite the slowdown, this is a shortcut to direct dialogue. Subliminal aggression, disappointment or defense against fear are explicitly addressed and correctly labeled. It comes to clearing out trivialities and superficial excuses, so that one can concentrate again on the essentials, and to establishing contact, including mutual reference and a reaction ( feedback ).
Dual types in therapeutic psychodrama
An extensive empirical study of the double process by Hans-Werner Gessmann in 1996 describes 10 double types in humanistic psychodrama which can be distinguished in their effect on the protagonist and which are characterized by different characteristics:
| Double type | properties |
|---|---|
| 01 | is empathetic, listening and accompanying, protagonist-centered and solution-oriented and brings about help, clarity, encouragement and hope in the protagonist to a large extent |
| 02 | is calm, patient and takes himself back, only causes calm in the protagonist |
| 03 | recognizes connections (structured), stays on the ball (protagonist-centered), formulates well (cognitive), gives suggestions (creative) and changes the protagonist in a highly significant way by conveying knowledge, insight, clarity, as well as possible solutions, goal setting, hope and encouragement to set out |
| 04 | has eye contact with the protagonist and signals approval and solidarity, but has no significant effect on the protagonist |
| 05 | takes the lead, which means it drives the process forward and makes suggestions. It is protagonist and action-oriented, as well as imaginative. It is felt by the protagonist to bring about knowledge, insight, hope, confrontation, activation |
| 06 | is very experienced, spontaneous in relation to the situation of the protagonist and the group, perceives resistance and helps to overcome it. It has a significant effect in that it activates the protagonist, promotes knowledge and insight, and provides clarity and help |
| 07 | is strenuous, addressed and involved and does not have any specific effects on the protagonist |
| 08 | is insecure and rigid in its double behavior, is itself involved and causes tension, resignation and confusion in the protagonist |
| 09 | is hasty, hasty, patronizing and confrontational and thus causes confrontation, shock, confusion and unrest |
| 10 | is judgmental, pursues its own concept, urges and wants to realize itself. The protagonist reacts to this in a significantly confrontational manner |
Effects in therapeutic psychodrama
Highly significant correlations to specific effects in the protagonist are ascribed to the following properties of the doubles: Provocative behavior in the doubles leads to confrontation in the protagonist. If the double can formulate well, it will be activated in the protagonist. If the double sees connections, this leads to clarity for the protagonist. If the double stays on the ball, this leads to knowledge, insight and reflection in the protagonist. If the double adjusts to the protagonist, help is given to him and a feeling of calm is triggered. If the double is very experienced, the protagonist is activated.
The doubles describe four impact groups:
| Impact group | effect |
|---|---|
| 1 | comforting, calming, hopeful and encouraging effect |
| 2 | destructive, resignation-leading and confusing effect |
| 3 | Calming effect |
| 4th | Insightful, solution-oriented, knowledge-giving effect |
Double types who act stringently, cognitively, experienced and empathetic are perceived by the protagonist as helpful in coping with his conflict resolution (types 3, 6, 1, 5), whereas double types who have acted judgmental, urging, patronizing (types 10, 9 , 8) were perceived by the protagonist as not helpful or even as aggravating the conflict.
Since the double process is to be understood as a communicative process, it always includes properties and effects in a larger context. Neither individual properties of the double nor the mechanisms of action of individual properties can be seen in isolation without understanding them in terms of a process-like change. It must be taken into account that the relationship structure between protagonist and double is expressed in the properties of the double and can be perceived there, so that the properties do not have to be considered separately with regard to the interactive events. So the double does not enter the double process with modified properties, but develops these properties in the interaction with the protagonist.
literature
- H.-W. Gessmann, M. Meyer: The importance of aspects of body language in the double process in humanistic psychodrama - an empirical study. In: International Journal of Humanistic Psychodrama. (Ed. Hans-Werner Gessmann). 3rd year, Issue 2, Dec 1997, Verlag des Psychotherapeutisches Institut Bergerhausen, Duisburg, pp. 30–51 ISSN 0949-3018
- H.-W. Gessmann: The therapeutic effectiveness of the double method in humanistic psychodrama. In: International Journal of Humanistic Psychodrama. (Ed. Hans-Werner Gessmann). 1st year, issue 2, Dec 1995, Verlag des Psychotherapeutisches Institut Bergerhausen, Duisburg, pp. 5–23 ISSN 0949-3018
- H.-W. Gessmann: Empirical investigation of the therapeutic effectiveness of the double method in humanistic psychodrama. In: Humanistic Psychodrama. IV, Verlag des PIB, Duisburg 1996, ISBN 3-928524-31-3 .
- H.-W. Gessmann: Empirical investigation of the therapeutic effectiveness of the double method in humanistic psychodrama. (pib-zentrum.de)
- A. Fights: The Doubles in Humanistic Psychodrama. (pib-zentrum.de)
- J. Stülten: The doubling in humanistic psychodrama. In: International Journal of Humanistic Psychodrama. (Ed. Hans-Werner Gessmann). 5th year, issue 1, June 1999, Verlag des Psychotherapeutisches Institut Bergerhausen, Duisburg, pp. 69-75 ISSN 0949-3018
Individual evidence
- ↑ A. Fights: The double in humanistic psychodrama. (pib-zentrum.de) ( Memento of the original from March 9, 2013 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ a b Hans-Werner Gessmann : Empirical investigation of the therapeutic effectiveness of the double method in humanistic psychodrama. In: Humanistic Psychodrama. Volume IV, Verlag des PIB , Duisburg 1996.
- ^ R. Battegay: The man in the group. Volume III, Huber, Bern 1972.
- ↑ H.-W. Gessmann: Empirical investigation of the therapeutic effectiveness of the double method in humanistic psychodrama. In: Humanistic Psychodrama. IV, Verlag des PIB, Duisburg, 1996, ISBN 3-928524-31-3 .
- ↑ H.-W. Gessmann: Empirical investigation of the therapeutic effectiveness of the double method in humanistic psychodrama. 1996. (pib-zentrum.de) ( Memento of the original from March 9, 2013 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
