Ildri L. Bie Ginn MA, TEP, CBT and Janet Meakin, MA, OTR/L, TEP
Bioenergetic psychotherapy is an in-depth analysis of the
energetic processes in the body. It seeks to liberate the
muscular armoring that blocks the flow of energy and
inhibits the breath and, therefore, the full experience of
life.
Bioenergetic philosophy, theory and intervention techniques
have substantially expanded my point of view and practice of
psychodrama. The theoretical concepts and knowledge about
body armor give me a deeper understanding of what a
psychodrama needs to achieve in terms of an emotional
hypothesis on a body level. This, in turn, informs the
action hypothesis of the psychodrama.
Emphasis on the body pervades the entire group process.
Psychodramatic warming- up to spontaneity and creativity
takes on a whole new dimension; that of the body warming up,
grounding and charging up with energy. Awareness of habitual
muscle tensions and blocks that prevent the flow of energy
is increased, and stress and breathing gradually help
soften the holding. I begin every day-long workshop with a
bioenergetic exercise class lasting about an hour. Attention
is paid to the contact of the body with the floor through
the feet. This is called grounding. All major joints are
mobilized. Breathing is deepened, and voice and emotions
stimulated. Thus begins each individual's process of
grounding; of centering or focusing in on the body; and of
increasing awareness, sensation and energy. Essentially
bioenergetics is working to free an individual's body armor
however it may manifest itself at the present time in his or
her life. That person is held accountable or seen as
responsible for any stuckness that is felt in the body,
however it might have developed in response to the
environment s/he grew up in. Expression of feeling and
mobilization of muscle tensions are embarked upon in the
service of liberating the self from the body armor. Muscle
tensions and body armor make up the physical manifestation
of ‘character structure;' that ‘second nature' that has
developed over time as an adaptation to the traumata of the
environment and culture in which we live.
A psychodrama incorporating Bioenergetics looks and feels
somewhat different from a more traditional psychodrama. Some
dramatic content and aesthetic dimensions may be sacrificed
in order to focus more intently on the body. For example, a
protagonist working on grief sets up a scene incorporating a
lost object. Auxiliaries are enrolled. Departing from the
classical psychodrama structure, the protagonist is invited
to lean backwards over a bioenergetic stool in order to view
the scene. At the same time the stretch in the back and rib
cage helps access the held tears that belong to this scene.
The emotional hypothesis may here be the fullest expression
of grief. In other words, this protagonist needs to cry
deeply; to give in to her tears; to cry with her whole body.
The bioenergetic view of catharsis in psychodrama is that it
is ultimately the greatest help when it liberates the body
armor and frees the breath and the energetic flow. Working
with character structure takes time. It is a matter of
pursuing the liberation step by step. If an emotional
catharsis in psychodrama is restricted to, say, crying from
the upper part of the chest, then bioenergetics can usually
deepen it over time so that the crying originates more from
the gut, giving a greater release. Breathing is deepened and
relief gained from the necessity of holding the feelings in.
It is often very true that a protagonist employing
bioenergetic stress positions is more easily able to move
into the core or depth of a feeling. This in turn may
facilitate a natural shift into other emotional states. As
examples you might see a protagonist move spontaneously from
fear to anger, from anger to tears or from tears to anger.
This seems to happen more readily when using bioenergetics
in conjunction with psychodrama, possibly because of the
depth of emotion that is evoked and the concomitant decrease
in resistance. So there ensues the possibility of being on a
journey with very many feelings that expand the experience
of the self and the satisfaction of being alive for the
protagonist.
But not only the protagonist is engaged in a bodily felt
journey through his/her psychodrama. Also the auxiliaries,
the double and the chorus. For example, an auxiliary playing
the lost object for a grieving protagonist may go over the
stool when reversing with the protagonist. This may serve to
deepen the auxiliary's experience and access feelings that
can be used to advantage in the ensuing role play. In the
service of a deeper expression of say, anger, the whole
group including the audience may be mobilized as a chorus to
encourage and support the protagonist as everyone accesses
his or her strength of expression and intention. During the
sharing group members may well be given the opportunity to
momentarily and as fully as possible express whatever came
up for them during the psychodrama. In these ways the bodily
component of the psychic processes is given full stage.
In reflecting over how this integrated style of using
bioenergetics within a psychodrama might differ visually
from, say, Moreno directing a more traditional psychodrama,
the following images came to mind. I see Moreno on stage
with table and chairs for props utilizing his very powerful
contact with the protagonist and orchestrating his
repertoire of psychodramatic tools such as auxiliary egos,
surplus reality, and role reversals with God. In contrast,
bioenergetic stool and roller, tennis racquet and mattress
replace the table and chairs on the stage. The stage action
might look slower in periods as the bioenergetically
informed director checks in with the protagonist about what
s/he is feeling in his/her body. The focus on the body is
intense; the director reading it up and down, looking for
the flow of energy, for signs of aliveness and charge, and
for areas of blockage to work with. Time is given to
repeated and full physical expression of emotion. Stress
positions and physical expressions may look like body
contortions to the more traditional director. Visually the
two psychodramas can look quite different as the one pursues
more tenaciously the protagonist's energetic processes.
In concluding, I would like to say that I have a deep and
personal respect for the disciplines of psychodrama and
bioenergetics. I cherish them separately and together. It
has given me the greatest satisfaction to be able to
integrate them into such a wonderful and cohesive instrument
for healing.