Nice Play戲劇輔導基地

在小編孜孜矻矻的努力之下，終於完成了羅伯特‧藍迪(Robert Landy)在美國心理學雜誌Psychology Today的第二篇關於戲劇治療的重點文章，這篇文章講到了角色理論中十分重要的一個模式「英雄之旅」。

英雄的概念在我們的生活中一點也不陌生，許多的電影如星際大戰、復仇者聯盟、玩具總動員等等，都一定會有一位英雄；至少，它會有一個主角。在治療和生活當中，個案與我們自己就是英雄。我們所經歷到的事件中，有衝突、磨擦和阻礙，但我們都有渴望前往的終點，那就構成了一個旅程。

但是英雄一定都要有個甘道夫，誰或甚麼可以幫助我們？這就是這趟旅程中的一項關鍵，有時候力量藏於英雄的內心，他只是需要被點醒或啟發，就如同海洋奇緣裡的莫娜，在她碰到困難時，她的祖母在死後幻化成一個魚的精靈提醒她不要放棄愛海洋的心。

希望這篇文章，也可以觸摸到我們的心，讓我們想想，我們的力量在哪裡？

A Theatre for Change: Drama Therapy Part 2

以改變為名的劇場：戲劇治療第二部

Understanding drama therapy in terms of the hero's journey.

從英雄之旅了解戲劇治療

Original article was posted May 23, 2012

原文出處：https://www.psychologytoday.com/blog/couch-and-stage/201205/theatre-change-drama-therapy-part-2

 I am a drama therapist who believes that people can change when engaging fully in a process of drama therapy. And I am a person who embraces the role of the perpetual beginner, ever in search of new ways to do old things. Like J.L. Moreno, I am committed to the principles of spontaneity and creativity in my work and life.

我是一個戲劇治療師，我相信人們在完全投入在戲劇治療的歷程中是能夠達到改變的。我同時也擁抱著永遠的初心者這樣的角色，我總是在舊的事情中尋找新的方法來完成。如同莫雷諾(編按：心理劇創始人，詳見上一篇網址：是生或是死─戲劇治療的翹翹板)，我在我的工作與生活中信奉自發性與創意性的原則。

And yet, on some days, I lose my way, and without an effective guide, I walk the path of the well-worn question: Is change really possible? On my walk the other day, I run into the generalized other, an old friend who I haven’t seen since I was 15, and ask what has become of him. He responds simply: "Nothing much. I’m the same person that you remember. Same goofiness. Same outlook. We are what we were, nothing more, nothing less."

但是有一些時候，我會失去方向，且沒有一個有效的引導者，我踏著那已經被磨損不勘的路徑，問著同樣的問題：改變真的可能發生嗎？前幾日在我散步途中，我剛好碰到一位舊識，我從15歲以後就沒再見過，我問他他有甚麼改變。他回答得很簡單：「沒甚麼變啊！我一樣是你記得的那個老樣子。一樣傻傻的，一樣的外表。我們就是我們，沒甚麼多，沒甚麼少。」

In contemplating the paradox of change and no change, I am drawn back to the theatre, especially to the archetype of the tragic hero, who, like Oedipus the King, attempts to discover some hidden truth about his identity, or like Blanche DuBois, attempts to re-discover a lost innocence, a sense of home. Before all the literary tragic heroes die, most realize that in the end, rather than reaching a desired intimacy, they are lucky to have been embraced by the kindness of strangers.

在思考改變與不變這樣矛盾的議題時，我的思緒拉回到劇場，尤其是悲劇英雄的原型，像是企圖揭發隱藏身分的伊底帕斯王；或是嘗試去重獲失落的純真、一種家的感覺的白蘭琪(編按：慾望街車中的女主角)。在所有文學中的悲劇英雄死前，他們往往不是獲得他們渴望的親密關係，但他們很幸運的被陌生人以善意擁抱。

All the real people will die as well, and some, in their capacity to live heroic lives, will do so in a less tragic fashion, choosing change even as they recognize the pull to the other side.

所有真實的人類也會死去，有些人能盡他們的能力、以不那麼悲劇性的方式活出英雄般的生命。即使他們認知到另一種可能性的拉扯，他們仍選擇了改變。

Over the years, I have conceived of the process of drama therapy as a hero’s/heroine’s journey, not unlike Joseph Campbell’s monomyth of the hero with a thousand faces. The hero is the client in treatment who commits herself to a therapeutic journey toward some goal, an often unknown destination. The destination is intimately connected to the process of journeying and is sometimes as literal as: ‘I want to commit to an intimate relationship and have children.’ Traversing the path toward relationship and family, however, can be tricky and deceptive, opening up side excursions toward unwelcome obstacles such as confused or abusive family dynamics.

歷經多年，我認為戲劇治療的歷程就像是英雄之旅，如同喬瑟夫‧坎伯的一元神話英雄論中，英雄有千張面孔。(編著：坎伯的巨著是《千面英雄》，其中討論了全世界神話故事的英雄歷險與其轉化過程，並且從中揭露同一原型的英雄。)在治療中的個案就如同英雄，投身於一趟治療之旅；為了完成某種目標、一個常常未知的終點。終點常常與旅程中的經歷密不可分，且有時十分白話，如：「我希望可以委身在一段親密關係中，並且可以有孩子。」然而，穿過通往關係與家庭的途徑往往是迂迴詭詐的，且會通往一些障礙重重的岔路，例如混亂或是暴虐的家庭動力。

When the obstacles become too difficult to overcome, the hero might recognize the need for a helper to move her along the path. For many, this guide figure is shadowy or false or absent. But once recognized and accepted, the guide can help the hero move closer toward the destination.

當障礙變得難以克服，英雄可能會了解到他需要一個幫手來協助他在旅程中前進。對許多人來說，這樣的引導角色是曖昧難辨的、不真實的或是缺席的。但是一旦辨認出來、接納了，這樣的引導角色可以幫助英雄更接近他的終點。

The hero’s journey in drama therapy is about the therapist as guide helping the client as hero move toward her destination by means of working through one or more obstacles. When the process is optimal, the client or group of clients is able to internalize all the roles and guide themselves through their own life obstacles toward existential destinations, with their internal cast of helpers intact. The journey, again when optimal, is about change, whether that change is manifested in understanding, behavior, thought, feeling, belief or choice of relational partner. The optimal journey is not linear, but of different shapes, veering as well into the necessary contours of stasis and doubt, of shame, loss and hopelessness.

在戲劇治療中的英雄之旅是有關治療師擔任引導般的角色幫助如同英雄的個案，一起和個案所面對的障礙工作，以朝他的終點邁進。當過程很圓滿，個案或團體能夠內化所有的角色並引導他們自己通過自身生命中的障礙、朝向存在的終點，且他們內在的幫助者的角色名單是完整的。旅程，如果是圓滿的，是有關個案的改變；不管是在理解、行為、思考、感受、信念，或是選擇伴侶上顯而易見的改變。最圓滿的旅程不是線性的，而是有不同的形狀，為了必要的停頓、懷疑、羞愧、失落和失望而轉向、形塑不同的輪廓。

In my new book, Theatre for Change: Education, Social Action and Therapy, written with David Montgomery, I take a look at many of the attempts world-wide to apply drama and theatre to forms of personal, social and political change. In discussing the therapeutic aspects of drama and theatre, I provide brief clinical vignettes. Several of the following exemplify aspects of the hero’s journey:

在我和大衛‧蒙哥馬利的新書《以改變為名的劇場：教育，社會行動和治療》，我檢視了世界上許多不同的人嘗試著應用戲劇和劇場來造成個人、社會和政治的改變。在討論戲劇和劇場的療癒性，我提供了一些簡短的臨床案例。下列數個故事可作為英雄之旅的例子：

1.

Caitlin at 6-years-old is so frail that she can barely walk or talk. She is hospitalized and dependent upon constant medical treatment to sustain her bodily functions. In working with her drama therapist, she creates the role of a soaring bird. For the first time in her brief life, she is able to transcend her physical limitations and soar unencumbered through a beautiful expansive sky, with limited movement but unlimited imagination.

凱特琳，六歲，她非常的虛弱甚至難以行走或說話。她長久住院，且倚賴持續的藥物治療來支持她的生理運作。在與她的戲劇治療師工作時，她創造了一隻飛翔的鳥兒。在她短短的生命中，她第一次能超越她身體上的限制，不受禁錮地翱翔在美麗寬闊的天空中。即使她的動作是有限制的，但想像力是無限的。

Caitlin, the hero, creates a guide figure in the bird to help her move through the deeply troubling obstacles of a failing body and a hospital with its medicalized domesticity. Guided by the therapist and her own invention of a soaring bird, Caitlin moves toward her destination—unencumbered movement. Even though the experience is one that occurs in the imagination, it provides a change from a state of stasis and dependence to one of flights of fancy and hope.

凱特琳，這位英雄，利用鳥創造了一個引導角色以幫助她穿越深層困擾的她的障礙──她脆弱的身體、醫院和以醫藥為家。被治療師和她自己創造出來的翱翔的飛鳥所引導，凱特琳往她的終點前進─不受限制的活動。雖然這樣的經驗是在想像中發生，它提供了一個靜止、依賴的狀態改變成為翱翔在幻想與希望當中。

2.

An American drama therapist, Armand Volkas, collaborates with colleagues in Japan to organize an encounter between a group of Japanese students and professionals and their counterparts in Nanjing, China. The purpose is to create a ritual to begin to heal the pain of the past. In 1937, the Japanese army slaughtered and raped many thousands of Chinese civilians in Nanjing. The encounter is held at the Memorial to the Nanjing Massacre. Through this experience in Drama Therapy, Japanese and Chinese participants are able to express their deep feelings of loss and shame, address the wounds of their common historical trauma, and understand how it continues to be played out in present generations.

一位美國的戲劇治療師，阿曼‧伏卡在日本與同事合作，策劃了一個日本與中國的學生、專業學者在南京聚會的場合。這場聚會的目的是創造一個儀式作為治療傷痛過去的開端。在1937年，日本軍隊在南京大屠殺中，殺害、強暴了成千上萬在南京的中國人。這場聚會在南京大屠殺的紀念館舉行。經由戲劇治療的經驗，日本和中國的與會者能夠表達他們深層的感覺關於失落、羞愧，對於共同的歷史傷痕發聲，並從中理解到這樣的傷痛如何繼續在現今的世代中上演。

The heroic group is comprised of former enemies who had colluded to retain a painful and shameful historic moment. Volkas and his Asian colleagues are able to guide the group toward several destinations—one, the literal space of past trauma, and two, the virtual space of reconciliation. Along the way, the group confronts many obstacles that include historical trauma, shame and guilt, silence and denial.

這個英雄團體由原先敵對的雙方組成，一直以來對於傷痛和羞恥的歷史片段雙方有如共謀般地一直共同留在心底。伏卡和他的亞洲同事能夠引導團體往幾個不同的終點邁進；其一是回到過去的創傷，其二是虛擬的和解空間。在一路上，這個團體面臨了許多障礙包含歷史創傷、羞恥與罪惡感、沉默和否認。

3.

Shortly after the assassination of John F. Kennedy, J.L. Moreno directed a sociodrama representing the event and its aftermath. Trained Psychodrama auxiliaries played the roles of JFK and Jackie Kennedy. Others were chosen from the audience to play Lee Harvey Oswald and Jack Ruby. The sociodrama was held during the annual conference of the American Psychiatric Association and 400 people attended. Moreno said to those gathered: ‘We are all suffering from a tremendous amount of unresolved guilt and confusion over what happened to President Kennedy. After all, if you can ‘kill the father”, anything goes.’ The full group experienced an intense moment of connection and catharsis in their shared grieving.

在甘迺迪總統暗殺事件後不久，莫雷諾(編按：心理劇創始人)導了一部社會心理劇來重現那場事件和它的餘波。受過訓練的心理劇輔角扮演了甘迺迪和第一夫人賈桂琳。其他事件角色則從觀眾中選出人來扮演李‧哈維‧奧斯瓦爾德(編按：槍擊案主嫌)以及傑克‧魯比(編按：槍殺李‧哈維‧奧斯瓦爾德的兇手)。這場社會心理劇在美國精神病學年會上演出，有四百多名與會人士。莫雷諾對與會者說：在甘迺迪總統的事件中，我們集體受苦於巨大、未平復的罪惡感和混亂。畢竟，如果你能夠「刺殺父親」，任何事情都可能逝去。整個團體在共同的哀悼中，一起經歷到一個高度凝聚張力的連結和淨化的時刻。

Again, a group takes on the collective role of hero to address a troubling moment within their community. The hero is epitomized in the roles of John F. Kennedy and Jackie Kennedy. Moreno guides the heroes as well as the audience toward its destination, a need for making meaning of the tragedy. Obstacles are personified in the auxiliary players who take on the roles of Lee Harvey Oswald and Jack Ruby. In the group catharsis of integration, a balanced form of thought and feeling is obtained.

在這場經驗中，這個團體一起共同扮演英雄的角色來探討在社群中攪擾大家的議題。甘迺迪和賈桂琳為英雄角色的縮影，莫雷諾引導了英雄和觀眾一起往終點邁進─人們需要在悲劇中製造意義。障礙則被擬人化為輔角演出的角色─李‧哈維‧奧斯瓦爾德和傑克‧魯比。在團體整合、淨化中，群體共同獲得了一種平衡的思考與情緒。

4.

In a drama therapy group in Greece, a woman arrived very late. The participants debated whether or not to allow her to remain in the group. The therapist asked the group to imagine the latecomer as a role type. The group named her: the intruder. The therapist asked members of the group to create stories about intruders. One woman told a story about an idyllic isolated island where an intruder suddenly appeared and terrorized the population with displays of aggression and sexuality. The group dramatized her story, and she became aware of her need for a figure that can inject passion into her cloistered, tradition-bound life. Although this figure was an intruder, it was one whose qualities could help her live a more fully integrated existence.

在希臘的一個戲劇治療團體，一位女性到遲到了很久。其餘的成員辯論著是否要允許她繼續留在團體中。治療師請團體成員想像這位遲到者如同一種角色類型。團體將她命名為：侵入者。治療師請成員根據”侵入者”來創造故事。有一位女性說了一個關於充滿田園風光、與世獨立的小島上，突然出現了一個侵入者，並且以野心和性的展示來恐嚇島上的人民。這個團體演出了她的故事，她開始意識到她需要一個角色來注入熱情到她幽閉、傳統的生活中。雖然這樣的角色是個侵入者，但它充滿了特質是可以幫助她活出更加整合的存在。

In this example, there are several heroic figures—the woman who arrives late, the storyteller, and her subject within the story, the tradition-bound woman. The destination is somewhat different for each figure, and yet, they all want a sense of change in relationship to the actual therapy group and to the fictional community group on the island. The intruder serves first as obstacle and then as guide, a role-reversal not uncommon in drama therapy. The therapist as guide holds the various levels of meaning together until the storyteller is able to hold them herself. At that moment she becomes aware that the role of the cloistered, tradition-bound woman can change if she makes room for the life-giving qualities of aggression and sexuality.

在這個例子中有許多個英雄角色─遲到的女人、說故事的人還有其故事裡的角色、那位傳統取向的女人。對每個角色來說終點都稍有不同，但他們都渴望一種真實的關係中的改變，可以發生在團體裡以及在故事中的島嶼群體。那位入侵者剛開始起了障礙的作用，接著成為引導者─這在戲劇治療中並非不常見。治療師如同引導者掌握了不同層次的意義，直到說故事者自己可以將它們掌握。在某個時刻說故事者意識到了如果她能賦予野性和性更多的生命特質，那位封閉、傳統的女性是可以被改變的。

As a peripatetic drama therapist and teacher who has just completed another academic year, I am about to leave home for a series of talks and trainings abroad. I go with the same goofiness and outlook as always, open to the pulls of the passage and the roles I encounter and witness. In future blogs, I will report further on my journeys toward understanding the meaning of a theatre for change.

身為一位剛完成一個教學年度、流動的戲劇治療師和老師，我即將要離家前往國外開始一連串的對談和訓練。我帶著相同的傻氣和外表，對於前方道路的拉力、即將預見的角色和和我將見證到的事物充滿開放。在未來的部落格中，我會更深入的報導旅程中對於以改變為名的劇場其意義，我所感受到的體悟。