心理劇中「替身經驗」現象的探究

游淑瑜; 蔡瑋芸

doi:10.3966/172851862019010054006

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P159 - 190

社会科学 > 心理学
社会科学 > 教育学

DOI： 10.7082/CJGC

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心理剧中「替身经验」现象的探究

The Experience of Doubling in Psychodrama: A Phenomenological Research

游淑瑜(Shu-Yu You) ；蔡玮芸(Wei-Yun Tsai)

中华辅导与谘商学报； 54 期 (2019 / 01 / 01) ， P159 - 190

繁体中文 DOI： 10.3966/172851862019010054006

心理剧；身体经验；替身；诠释现象学； Bodily feelings ； doubling ； hermeneutic phenomenology ； psychodrama

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摘要 │ 参考文献 (39) │ 被引用文献 (2) │ 国际计量

摘要〈TOP〉

并列摘要〈TOP〉

This study aims at revealing the experiential structure of doubling in psychodrama using a phenomenological method. Five participants with the interpersonal issues were chosen and invited to be the protagnists. Five auxiliaries and five doubles were invited to attend the double-training workshop. In the workshop, the researcher designed a doubling scene to warm up the protagnists. The doubling scene included the protagonist, the auxiliary (who played the person and had interpersonal issue with the protagonist), and the double (who sat beside the protagonist). The director facilitated verbal dialogue between the protagonist, the auxiliary and the double. And the dialogue lasted for 30-60 minutes. The researcher collected the experience-describing of the doubles. Phenomenological analysis (Lee & Lai, 2009) was applied to the descriptions of experience. The experiential structure of doubling in psychodrama consisted of two dimensions of behaviors. One was the horizontal dimension, indicating the interpersonal verbal and nonverbal communication. The double listened to the verbal and nonverbal behavior of the protagonist and the auxiliary, listened to the interaction between the protagonist and he auxiliary. The double arouse bodily feelings and doubled for the protagonist. The other was the vertical dimension, indicating the words-bodily feelings connection. By role-playing or by interacting with the protagonist or the auxiliary, the double experienced the inner and bodily feelings, the double understood the protagonists' experience and was in the role of the double and doubled for the protagonist. There are five experiential themes in the experiential structure of doubling in psychodrama. The first experiential theme was that the double was in the role of the double by role-playing. The second experiential theme was that the double was to reveal the protagonist's inner experience. The double played the role of the protagonist, listened to the verbal and nonverbal behavior of the protagonist and the auxiliary, and listened to the interaction between the protagonist and the auxiliary. The double arouse bodily feelings and was in the role of the double, with an aim to understand protagonists' experience. The double revealed the protagonist's inner experience. The third experiential themewas that the double facilitated the protagonist's inner dialogue. The double listened to the verbal and nonverbal behavior of the protagonist and the auxiliary, and listened to the interaction between the protagonist and the auxiliary. The double arouse bodily feelings and was in the role of the double and doubled the protagonists. The double facilitated the protagonist's inner dialogue. The fourth experiential theme was that the double empowered the protagonists by bodily movement. The double listened to the verbal and nonverbal behavior of the protagonist and the auxiliary, listened to the interaction between the protagonist and the auxiliary. The double empowered the protagonists by bodily movement. The last experiential theme was that the double kept the spontaneous doubling process. The spontaneous doubling experience was that the double listened to the verbal and nonverbal behavior of the protagonist and the auxiliary. The double listened to the interaction between the protagonist and the auxiliary. The double arouse bodily feelings and keep being in the role of the double and doubled the protagonists. The double revealed the protagonist's inner experience, facilitated the protagonist's inner dialogue, and empowered the protagonists by bodily movement. The spontaneous doubling process kept going. The researcher reveals the experiential process which the double is stuck and out of stuck. The researcher revealed two situatedness of the double. One situatedness was that the double was isolated with the protagonists' experience. The other situatedness was that the double was refused by the protagonist and the auxiliary. By being doubled by the director, the double was out of stuck and keep the process of doubling. Based on the results of the study, various significant features regarding the experience of doubling in psychodrama were clarified.

参考文献 ( 39 ) 〈TOP〉

李维伦, W. L.(2004)。以「置身所在」做为心理学研究的目标现象及其相关之方法论。应用心理研究，22，157-200。
连结：
李维伦, W. L.,赖忆嫺, Y. H.(2009)。现象学方法论：存在行动的投入。中华辅导学报，25，275-321。
连结：
林耀盛, Y. S.,李弘毅, H. I.(2016)。朝向疾病的疗癒：血液透析者心理经验之诠释。本土心理学研究，45，129-174。
连结：
洪雅琴, Y. C.,李维伦, W. L.(2007)。一位犯罪少女的置身所在：家的错落与回返。本土心理学研究，28，141-196。
连结：
游淑瑜, S. Y.,李维伦, W. L.(2012)。心理剧中的自发性：以辅角经验为对象的定性研究。中华辅导与谘商学报，34，83-112。
连结：

被引用文献 ( 2 ) 〈TOP〉

国际计量

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