THE WORDS OF JACOB LEVY MORENO:

Vocabulary of Quotations from Psychod rama, Group

Psychotherapy, Sociod rama and Sociometry

ROSA CUKIER
Copyright © 2007

All rights reserved by the author. No part of this publication may be reproduced, stored in a
retrieval system or transmitted in any form or by any means electronic, mechanical, photocopying,
recording or otherwise, without the prior written permission of the author.

ISBN 978-1-4303-1139-3
THIS BOOK IS A TRIBUTE OF GRATITUDE TO JACOB LEVI MORENO AND TO
PSYCHODRAMA
INTRODUCTION

The idea of writing a vocabulary of Moreno’s concepts has been dogging me for about fifteen
years, give or take a few, ever since I myself started writing about Psychodrama. I discovered that I
needed, now and again, to consult Moreno’s books to search for quotations or definitions that I had
read somewhere or other, but didn’t remember quite where. My reference work was the Vocabulary
of Psychoanalysis by Laplanche and Pontalis1 a work that I have consulted frequently throughout my
career as a psychologist.
Moreno, as you have probably already noticed, is a complex writer, even prolix with a writing
style midway between philosophy, religion, literature and experimental science. Some parts of his
theories seem inconclusive or contradictory, allowing different interpretations; certain concepts are
quoted only once in a whole book and never again, whilst others are repeated exhaustively, giving the
impression that the author is copying himself; texts are presented in diagram form for better
comprehension, sometimes making them doubly confusing; poems and metaphors are also used to
clarify ideas.
All this, together with a type of belligerent attitude of liking to oppose classical philosophers,
psychologists, and economists such as Spinosa, Freud and Marx for example – Moreno criticizes
parts of these works, presenting Sociometry as if it were the truth about the subject in question, and
obliging the reader to read the work referred to in order to check the properties of Moreno’s ideas.
Anyway, taking a trip through Moreno’s works is a difficult adventure which was only made
possible for me in 1992, starting from when I joined the GEM2 – Moreno’s Group of Studies –
DAIMON – and I began to count on colleagues from different disciplines and with different personal
styles. Together we compiled a glossary of information on psychology, philosophy, sociology,
pedagogy and humor, which allowed us to continue our quest.
Initially I intended to collect, transcribe and give a reference to the page of the book where Moreno
mentions categorically the main concepts of Sociometry, in order to make research easier. I kept to
this idea, only adding, during the work, the page of the book in English and Spanish with the idea of
making the collection useful to our foreign colleagues.
One of the problems that I faced was how to cut parts of Moreno’s work, in other words, which
concepts to transcribe. I decided to partially follow my “researcher’s intuition” and choose Moreno’s
definitions, concepts and opinions, which to me seemed interesting and likely to be researched. I also
accepted, during all the making of this dictionary (almost nine years) the suggestions from my
colleagues at GEM and, finally I researched books and articles on Psychodrama published in the last
ten years looking for any references that authors had made to Moreno’s writings.
Obviously, the vocabulary is not exhaustive. Distinguished researchers will have distinguished
`cuttings`; for this reason I would like anyone who reads the book and has a suggestion about concepts
to write to me and I will undertake to add them to future editions.3
J. L. MORENO BOOKS SELECTED FOR
REFERENCE

One of my biggest concerns during the creation of this book was deciding which edition of
Moreno’s books was to be used as the basis for page referencing. I decided to use the latest editions
published in Portuguese – with future generations of students in mind – and the English and Spanish
editions that I own. If this book happens to be translated into other languages, I would like the most
recent editions of each book to be used as a base for the same reasons.
Concerning the English and Spanish publications, they do not always correspond to the Brazilian
ones, which made me go a little bit through the story of the original publications of Moreno’s work. I
will list below what I could find and what I used to find out the pages in the books in other languages:
1. The book Psychodrama has its last two sessions published separately in Spanish, composing
another book entitled Psychomusic and Sociodrama. This same book is published in three volumes in
English, the second one being correspondent to the Brazilian and Spanish edition called Foundations
of Psychodrama. The third volume has some parts of chapters found in the Brazilian and Spanish
book called Group Psychotherapy and Psychodrama, but it also has chapters not translated into
Latin languages.
2. The book Group Psychotherapy and Psychodrama, originally published in German, has only
Spanish, Portuguese and French versions and was not published in English. Some articles from this
book are, in fact, part of Moreno’s Monographs sold separately by the Beacon House and
occasionally published in the old magazines released by Moreno’s Institute. These magazines4 were
first released under the name Journal of Sociatry, but its name changed as time went by and it was
published under other names, as follows: Journal of Group Psychotherapy; Journal of
Psychotherapy and Psychodrama; Journal of Group Psychotherapy and Psychodrama and
Sociometry.
3. Moreno used to write the introduction to his books published in other languages himself. There
are introductions for the Brazilian, Spanish and English editions and so on. Most of the time these
introductions exist only the original language. Therefore the concepts expressed on those pages have
no corresponding versions in other languages.
4. The book Who shall survive? comes in three volumes in the Brazilian publication and only in
one in the English and Spanish ones. Apart from that, in the Portuguese and English publications, there
is a very important chapter “Preludes to the Sociometric Movement”, which does not come in the
Spanish publication. Another thing that does not exist in the Spanish publication is the last session
named “The Sociometric System and The Advanced Sociometric Theory”.
Here is a list of the publications of Moreno’s books that I used:
1. O Teatro da Espontaneidade. São Paulo, Summus Editorial, Ltda, 1973
El Teatro de la Espontaneidad. Buenos Aires: Vancu, 1977.
The Theatre of Spontaneity. New York, N.Y.: Beacon House, 1973.

2. Psicodrama. Editora Cultrix, São Paulo: 1975.

 Psicodrama. Buenos Aires: Hormé,
Psychodrama. New York, N.Y.: Beacon House, 1977, v.1.

3. Quem sobreviverá? Fundamentos da Sociometria, Psicoterapia de Grupo e Sociodrama,

Dimensão Editora e Distribuidora Ltda, Goiânia, Brasil, 1992, v.1, 2 e 3.
Fundamentos de la Sociometria. Buenos Aires: Paidós, 1972.
Who Shall Survive? Foundations of Sociometry, Group Psychotherapy and Sociodrama.
Beacon House Inc., N.Y. 1978.

4. Fundamentos do Psicodrama. Editorial Summus, São Paulo, 1983.

Las Bases del La Psicoterapia, Editorial Paidós, Buenos Aires.
Psychodrama: Foundations of Psychotherapy; Beacon House, v.2, New York, 1975. (in
collaboration with Moreno, Z. T).

5. Psicoterapia de Grupo e Psicodrama, Editora Livro Pleno Ltda., Campinas, 1999.

Psicoterapia de Grupo y Psicodrama: Introducción a la Teoria y la Praxis, Fondo de Cultura
Económica, México: 1976.
English – there is no publication. I found many articles from this book published in some
magazines, listed bellow:
Psychodrama: Action Therapy & Principles of Practice, v. 3, Beacon House, New York, N.Y.:
1975. (In collaboration with Moreno, Z. T).
Group Psychotherapy – American Society of Group Psychotherapy And Psychodrama, V. X,
N.1, March 1957, p. 143-144.
Moreno, J. L and Jennings H.H. – Sociometric Control Studies of Grouping and Regrouping,
Sociometry Monographs N. 7, Beacon House, 1947.
Moreno, J. L., Psychodramatic Shock Therapy, A Sociometric Approach to the Problem of
Mental Disorders in Group Psychotherapy and Psychodrama, v. xxvii, N. 1-4, 1974, p. 9-10.
J.L. Moreno “Hypnodrama and Psychodrama in Group Psychotherapy”, Beacon House, N. 1, v.
iii, April 1950, p.2.
Moreno, J. L. “Fragments from the Psychodrama of a Dream”, in Jonathan Fox – “The Essential
Moreno”, Springer Publishing Company, N.Y., 1987, p. 118.
Moreno, J. L. – “Code of Ethics of Group Psychotherapist” in Group Psychotherapy, Beacon
House, v. x, N. 1, March 1957, p. 143-144.

Moreno, J. L. – “Ontology of Group Formation” in Group Psychotherapy, A Quarterly, v. x, N.

4, December 1957, p. 348.
Moreno, J. L. – “The Three Branches of Sociometry” – Sociometry Monographs N. 21, Beacon
House, 1947, p. 7.
Moreno, J. L. – “The Actual Trends in Group Psychotherapy”, in Group Psychotherapy, v. VI,
September 1963, N. 3, p. 126.
Moreno, J. L. – “Psychodramatic Rules, Techniques and Adjunctive Methods” in Group
Psychotherapy, v. xviii, N. 1-2, March-June, 1965, p. 81-82.
Moreno, J. L. – “Fragments from the Psychodrama of a Dream”, in Group Psychotherapy, March
1951, N. 4, v. iii, p. 365.
Moreno, J. L. – “Psychodramatic Production Techniques”, p. 244 in Group Psychotherapy, v. iv,
N. 4, March, 1952.
FOOTNOTES AND TEXT HIGHLIGHTS

In order to be brief, I clipped the most significant parts of Moreno’s concepts I was looking for in
his texts, sometimes cutting down a phrase and continuing it from a specific passage of another one.
The ellipsis sign (...) shows these interruptions, and it also shows when a specific chosen passage
begins in the middle of a phrase.
I sometimes found it necessary for a better understanding to warn the readers on what the passage
was about, mainly when the subject was implied in a previous phrase to the one I had clipped. In
these cases I added a footnote containing the missing information.
ITALICS

All the Italics in the texts are original italics from J. L. Moreno’s editions of the book in
Portuguese.
TRANSLATION ERRORS

There are various errors in the Portuguese translations of all J. L. Moreno’s works. For example,
the word “iniciador”, (“starter” in English) which is normally used to refer to the beginning of a
warm-up, is translated erroneously as “arranque” in Portuguese; the word “adestramento” (“training”
in English) is used incorrectly instead of “treinamento”, etc.
I decided to leave the translation errors in the dictionary in order to make it easier for the students
to recognize the passage quoted.
ACKNOWLEDGEMENTS

One cannot write a book like this alone. I counted on many people’s collaboration and I want to
thank and name each of them:
To Maria Angélica Sugai and Cristine Georgette Massoni, psychodramatist colleagues and
supervisors, thank you very much for the dedication and the responsibility on the general revision of
this work, for the good mood with which we spent so many Tuesday afternoons together – I will
always keep in my heart the tenderness of this “teamwork”.
To the GEM colleagues – Moreno’s Group Studies – Thanks for being the interlocutors of my
doubts and anguishes during the making of this book. I would like to give special thanks to Luiz
Russo for donating me his precious time, searching here and there for a page I had lost, and also for
suggesting concepts that I had skipped.
To José Fonseca for the never-ending help and support during my psychodramatist carrier, for
Moreno’s English books and magazines he lent me and above all, for the opportunity of studying
Moreno the GEM propitiated me.
To Antônio Carlos M. Cesarino for the good sense of humor with which he found an old Moreno
book in Spanish and dedicated it to me, as if it had been Moreno himself to autograph it to me. You
did make me laugh, Cesarino, thank you!
To the young psychodramatists: Cely Regina Batista Blessa, for her competent English typing,
and Renata Marmelstejn and Branca Brener for their initial help in the making of this dictionary.
To all the colleagues from the “Internet Grouptalk” – Group of the International Association
of Group Psychotherapy, that discusses psychodrama on the Internet. Special thanks to Dr. Adam
Blatner for having talked over my doubts so many times and also for having sent me some of
Moreno’s articles, and to Dr. James Sacks for his care and disposition on sending me an English
copy of the original Moreno monograph: “A Paranoid case treated by Psychodrama”.
To Dr. Pablo Poblacion – Spain seemed to be right next to me when I received the book you sent.
Thank you, Pablo, you are a great friend! Or: you are one of a kind!
Finally, I thank Dr. Dalmiro Bustos for having taught me how to derivate creativity from
happiness and from gratitude instead of from resentment!
INDEX

ABREACTION...................................................................... 35
ACT HUNGER...................................................................... 35
ACTING OUT ....................................................................... 36
ACTING-OUT/TWO TYPES IRRATIONAL X THERAPEUTIC
..................................................................... 37
ACTION INSIGHT............................................................... 38
ACTOR .................................................................................. 39
ADEQUACY OF RESPONSE............................................. 39
ADLER................................................................................... 40
ADULTS VERSUS CHILDREEN....................................... 41
AMBICENTRIC CRISIS..................................................... 41
AMBIVALENCE OF CHOICE........................................... 42
ANIMISM.............................................................................. 43
ANONYMITY ....................................................................... 43
ANTEROS ............................................................................. 44
ANXIETY .............................................................................. 44
ANXIETY/FEAR.................................................................... 44
ANXIETY/SCHIZOPHRENIA ............................................. 45
ANXIETY/TIME ANXIETY ................................................. 45
ARISTOTELE (see Tele/Aristotele).................................... 46
ATOGRAM ........................................................................... 46
ATOM .................................................................................... 47
ATOM/CULTURAL............................................................... 47
ATOM/SOCIAL ..................................................................... 48
ATTENTION......................................................................... 52
AUDIENCE ........................................................................... 52
AUDIENCE/AS A PATIENT IN A PICTURE...................... 53
AUDIENCE/HOMOGENEOUS GROUP.............................. 53
AUDIENCE/RELATIONSHIP DIRECTOR- AUDIENCE... 53
AUTHORSHIP/MORENO .................................................. 54
AUTO-TELE (SEE TELE/AUTOTELE)........................... 55
AUXILIARY-EGO ............................................................... 55
AUXILIARY-EGO/ALTER-EGO ......................................... 55
AUXILIARY-EGO/AUDIENCE EGOS................................ 55
AUXILIARY-EGO/AUDIO-EGOS ....................................... 56
AUXILIARY-EGO/BEGINNING OF THE CONCEPT........ 56
AUXILIARY-EGO/BEGINNING OF THE CONCEPT/RESCUE PLAYER
............................................. 58
AUXILIARY-EGO/CLIENT AS AN AUXILIARY-EGO.... 58
AUXILIARY-EGO/CONCEPT.............................................. 59
AUXILIARY-EGO/CRITICISM AGAINST THE CLASSIC PSYCHIATRIST
.................................................................... 59
AUXILIARY-EGO/DEVELOPMENT/TRAINING ............. 60
AUXILIARY-EGO/FUNCTIONS OF ................................... 61
AUXILIARY-EGO/INVOLVEMENT................................... 64
AUXILIARY-EGO/MORENO CHOOSES THE EGOS....... 64
AUXILIARY-EGO/MOTHER AND FATHER AS AUXILIARY-
EGOS............................................................... 65
AUXILIARY-EGO/NUMBER OF ........................................ 66
AUXILIARY-EGO/PATIENT’S AUXILIARY EGO
TECHNIQUE.......................................................................... 66
AUXILIARY-EGO/PSYCOSIS ............................................. 66
AUXILIARY-EGO/TRANSFERENCE/SCIENTIFIC
OBJECTIVITY....................................................................... 67
AXIODRAMA ...................................................................... 70
BEACON................................................................................ 71
BIOATRIC ............................................................................ 71
BIRTH.................................................................................... 71
BIRTH CONTROL ................................................................ 72
BIRTH CONTROL/CRITICISM AGAINST CATHOLIC POSITION
.............................................................................. 72
BIRTH/PSYCHODRAMA .................................................. 72
BODY..................................................................................... 73
BODY/BODILY CONTACT ................................................. 73
BODY/BODY LANGUAGE.................................................. 74
BODY/BODY POSITION...................................................... 74
BODY/PHYSICAL TRAINING/PLAYERS ......................... 74
BOOK..................................................................................... 75
BOOK/THE WORDS OF THE FATHER.............................. 75
BOOK/WHO SHALL SURVIVE?......................................... 75
BREACH/REALITY & FANTASY.................................... 76
BREASTFEEDING .............................................................. 77
CARL JUNG ......................................................................... 78
CATHARSIS ......................................................................... 78
CATHARSIS/ACTION .......................................................... 78
CATHARSIS/ACTIVE & PASSIVE ..................................... 79
CATHARSIS/COLLECTIVE................................................. 79
CATHARSIS/HISTORY........................................................ 80
CATHARSIS/INTEGRATION .............................................. 81
CATHARSIS/INTELLECTUAL AND ANALYTIC
CATHARSIS........................................................................... 81
CATHARSIS/MENTAL......................................................... 82
CATHARSIS/PSYCHODRAMA & SOCIODRAMA........... 83
CATHARSIS/PSYCHODRAMATIC CATHARSIS ............ 83
CATHARSIS/SOMATIC ....................................................... 84
CATHARSIS/SPONTANEITY.............................................. 84
CATHARSIS/TOTAL ........................................................... 84
CHILD (SEE INFANT)........................................................ 85
CHOICES .............................................................................. 85
CHOICES/CHOICE OF THE THERAPIST ......................... 85
CHOICES/GROUP MEMBERS ............................................ 85
CHOICES/INTENSITY OF CHOICE.................................... 86
CHOICES/RECIPROCATED CHOICE ................................ 86
CHOICES/SOCIOMETRIC CHOICE.................................... 86
CLASSOID ............................................................................ 89
COMMEDIA DELL’ARTE................................................. 90
COMMUNICATION............................................................ 90
COMMUNICATION/THE ACT OF COMMUNICATION.. 90
COMMUNICATION/LARGE GROUP COMMUNICATION/MASS-MIDIA.....................................
91
COMMUNICATION/SPONTANEOUS COMMUNICATION
................................................................................................. 91
CONFLICT............................................................................ 91
CONSCIOUS/UNCONSCIOUS ......................................... 91
CONSERVE........................................................................... 92
CONSERVE/CULTURAL/ENERGY.................................... 92
CONSERVE/EUGENY.......................................................... 92
CONSERVE/EXCESS............................................................ 93
CONSERVE/POPULAR ROLES........................................... 93
CONSERVE/SPONTANEITY............................................... 94
COSMIC HUNGER.............................................................. 97
COSMIC MAN...................................................................... 97
COUCH ................................................................................. 98
COUCH/RESEARCH............................................................. 98
COUPLE PSYCHOTHERAPY........................................... 99
COUPLE PSYCHOTHERAPY/PATERNITY....................... 99
CREATIVE ACT .................................................................. 99
CREATIVE ACT/PHILOSOPHY OF THE CREATOR ..... 100
CREATIVE ACT/REVOLUTION THROUGH................... 100
CREATIVE SEEDS............................................................ 100
CREATIVITY..................................................................... 101
CREATIVITY/CHARACTERISTICS OF THE CREATIVE
ACT....................................................................................... 101
CREATIVITY/PHILOSOPHY OF THE CREATIVE ACT 102
CREATIVITY/SPONTANEITY ......................................... 102
CREATOFLEX................................................................... 103
CREATOR ENVY .............................................................. 103
CREATOR LOVE .............................................................. 104
CREATURGY VERSUS DRAMATURGY ..................... 105
CRITERIA........................................................................... 106
CRITERIA/ACTION CRITERIA ........................................ 106
CRITERIA/DIAGNOSTIC CRITERIA .............................. 106
CRITERIA/SOCIOMETRIC CRITERIA ............................ 106
CRITICISM......................................................................... 108
CRITICISM/ADLER............................................................ 108
CRITICISM/BERGSON....................................................... 108
CRITICISM/EXISTENTIALISM......................................... 109
CRITICISM/FEED BACK THEORY.................................. 110
CRITICISM/FREUD ............................................................ 110
CRITICISM/FREUD/PSYCHOANALYSIS/EDUCATIONALPSYCHOANALYSIS
........................................................... 111
CRITICISM/FREUD/PSYCHOANALYSIS/PLAY THERAPY
............................................................................................... 111
CRITICISM/FREUD/PSYCHOANALYSIS/PSYCHOLOGY
............................................................................................... 111
CRITICISM/FREUD/PSYCHOANALYSIS/SEXUALITY 114
CRITICISM/FREUD /PSYCHOLOGICAL DETERMINISM
............................................................................................... 116
CRITICISM/FREUD/WILD PSYCHOANALYSIS ........... 118
CRITICISM/HERBERT G. MEAD ..................................... 119
CRITICISM/JUNG............................................................... 119
CRITICISM/LEARNING SYSTEM .................................... 120
CRITICISM/MARX ............................................................. 120
CRITICISM/MONTESSORI................................................ 121
CRITICISM/MOTION PICTURES ..................................... 122
CRITICISM/RADIO............................................................. 122
CRITICISM/REGRESSIVE SCENE ................................... 122
CRITICISM/ROUSSEAU .................................................... 123
CRITICISM/THEORIES OF CHILD DEVELOPMENT .... 123
CULTURE........................................................................... 124
CURRENTS ........................................................................ 124
CURRENTS/EMOTIONAL CURRENTS ........................... 124
CURRENTS/PSYCHOLOGICAL CURRENTS.................. 125
DAS DING AN SICH ......................................................... 126
DAS DING AUSSER SICH................................................ 126
DELUSION.......................................................................... 126
DEUS/EX-MÁQUINA........................................................ 127
DEVELOPMENT/MENTAL GROWTH......................... 127
DEVELOPMENT/STAGES................................................. 127
DIAGNOSIS ........................................................................ 128
DIAGNOSIS AND TREATMENT ..................................... 128
DIALOGUE......................................................................... 128
DIRECTOR......................................................................... 128
DIRECTOR/ABSTINENCE................................................. 128
DIRECTOR/ACTION........................................................... 129
DIRECTOR/DRAMATIC QUALITY ................................. 129
DIRECTOR/FUNCTION ..................................................... 130
DIRECTOR/OBJECTIVITY................................................ 131
DIRECTOR/RELATHIONSHIP WITH THE CLIENT....... 131
DIRECTOR / RELATHIONSHIP WITH THE SPECTATOR
............................................................................................... 131
DRAMA/CATEGORIES OF................................................ 132
DRAMA/CATHARSIS....................................................... 132
DRAMA/DRAMATIS PERSONAE .................................... 132
DRAMA/HEALING............................................................. 133
DRAMA/HISTORY ............................................................. 133
DRAMA/MEANING OF THE WORD................................ 134
DRAMATIC QUALITY..................................................... 134
DRAMATIST ..................................................................... 135
DRAMATIZATION ........................................................... 136
DRAMATIZATION/FUNCTION OFF................................ 136
DREAMS ............................................................................. 136
DURÉE................................................................................. 137
DURÉE/HENRY BERGSON............................................... 137
EDUCATION AND PSYCHODRAMA ........................... 138
EMOTIONAL EXPANSIVENESS .................................. 139
EMOTIONAL EXPANSIVENESS/JEWS........................... 140
EMOTIONAL EXPANSIVENESS/SOCIAL
EXPANSIVENESS............................................................... 140
EMOTIONAL EXPANSIVENESS/SOCIOMETRIC TEST141
EMOTIONAL EXPANSIVENESS/TESTING.................... 141
ENCOUNTER..................................................................... 141
ENERGY.............................................................................. 141
ENVY ................................................................................... 142
ENVY/CREATOR ENVY (SEE IN CREATOR ENVY).... 142
ENVY/GERMAN’S ENVY.................................................. 142
ETHICS OF GROUP PSYCHOTHERAPIST................. 142
ETHICS/GROUP PSYCHOTHERAPY / HIPPOCRATIC
OATH.................................................................................... 143
ETHICS/GROUP PSYCHOTHERAPY/HERE AND NOW143
EXISTENTIALISM............................................................ 143
EXISTENTIALISM/MORENO ........................................... 143
EXTERNAL SOCIETY ..................................................... 143
FAMILY .............................................................................. 144
FAMILY/INTROVERTED ORGANIZATION................... 144
FAMILY/FAMILY THERAPY/PSYCHODRAMA............ 145
FREE ASSOCIATION....................................................... 147
FREE ASSOCIATION/SPONTANEITY............................. 147
FREUD/MEETING FREUD-MORENO.......................... 148
FUTURE .............................................................................. 148
FUTURE/MAN..................................................................... 150
FUTURE/MASS MIDIA...................................................... 151
FUTURE/SEXUALITY........................................................ 152
FUTURE/SOCIATRY/SOCIOMETRY............................... 152
FUTURE/SPONTANEITY VERSUS CREATIVITY ........ 153
GENIUS/HEROES.............................................................. 153
GENIUS/SPONTANEITY AND WARMING UP............... 154
GENIUS/TELE ..................................................................... 155
GOD...................................................................................... 156
GOD/GODHEAD................................................................. 156
GROUP COHESION.......................................................... 160
GROUP PSYCHOTHERAPY/AGE OF THE MEMBERS
............................................................................................... 161
GROUP PSYCHOTHERAPY/BEGINNINGS/HISTORY. 161
GROUP PSYCHOTHERAPY/CHILDREN......................... 164
GROUP PSYCHOTHERAPY/CHOICE OF THE THERAPIST
............................................................................................... 164
GROUP PSYCHOTHERAPY/DEFINITIONS ................... 164
GROUP PSYCHOTHERAPY/FEES.................................... 166
GROUP PSYCHOTHERAPY/GROUP’S SOCIAL DEFENSE
MECHANISM...................................................................... 166
GROUP PSYCHOTHERAPY/INCLUSION OF NEW MEMBERS
........................................................................... 166
GROUP PSYCHOTHERAPY/INDICATION .................... 167
GROUP PSYCHOTHERAPY/PATERNITY ...................... 167
GROUP PSYCHOTHERAPY/PSYCHOTHERAPEUTIC SUCCESS OR FAILURE
.................................................... 168
GROUP PSYCHOTHERAPY/SIZE OF THE GROUP....... 168
GROUP PSYCHOTHERAPY/SMALLEST GROUP.......... 169
GROUP PSYCHOTHERAPY/SOCIODRAMA ................. 169
GROUP PSYCHOTHERAPY/SUBJECT............................ 169
GROUP PSYCHOTHERAPY/VERSUS INDIVIDUAL
PSYCHOTHERAPY............................................................. 170
GROUP/NORMAL X THERAPEUTIC........................... 171
GROUP/STAGES OF .......................................................... 172
HAPPENING....................................................................... 172
HEALING............................................................................ 173
HEALING/MENTAL HEALING PROCESSES ................. 173
HEALING/SECOND TIME................................................. 173
HEALING/SPONTANEITY ................................................ 173
HENRY BERGSON............................................................ 174
HERE AND NOW............................................................... 175
HERE AND NOW/ETHICS................................................. 175
HISTORY ............................................................................ 176
HISTORY/FIRST CONGRESS OF GROUP PSYCHOTHERAPY
............................................................ 176
HISTORY/VIENA OF 1910................................................. 176
HUMOUR............................................................................ 176
HUMOUR/THERAPY ......................................................... 176
HYPNODRAMA AND HYPNOSIS.................................. 177
IDEE FIXE .......................................................................... 179
IDENTITY/IDENTIFICATION........................................ 179
IDENTITY/SUBJECTIVE VERSUS OBJECTIVE............. 181
IMAGES/THERAPEUTIC IMAGES............................... 182
IMPROVISATION............................................................. 182
IMPROVISATION/AS A PRIMARY PRINCIPLE............. 182
INFANT ............................................................................... 184
INFANT/LONG PREGNANCY .......................................... 186
INFANTILE AMNESIA..................................................... 187
INFANTILE AMNÉSIA/FIRST 2-3 YEARS OF LIFE....... 187
INFANTILE AMNESIA/RETROACTIVE AMNESIA ...... 187
INSTITUTIONS.................................................................. 188
INSTRUMENTS OF THE PSYCHODRAMATIC METHOD
........................................................................... 188
INTERPERSONAL SITUATION..................................... 191
INTERPSYCHE.................................................................. 191
INTRAPSYCHIC................................................................ 191
INTROJECTION................................................................ 192
INTROJECTION/TELE ....................................................... 192
ISOLATE............................................................................. 193
ISOLATE/INVOLUNTARY ISOLATES............................ 193
ISOLATE/VOLUNTARY ISOLATES ................................ 194
JESUS................................................................................... 195
JEWS.................................................................................... 195
JEWS /ATTRACTION BETWEEN JEWS AND GERMANS
............................................................................................... 195
JEWS/EMOTIONAL EXPANSIVENESS........................... 196
JEWS/EXCESS OF EFFORT/PRIVILEGED POSITIONS. 196
JEWS/GERMAN’S ENVY................................................... 196
JEWS/JEWISH ANTI-SEMITISM ...................................... 197
JEWS/LEADER PRODUCTION......................................... 197
JEWS/TELE EFFECT .......................................................... 197
KIERKEGAARD................................................................ 198
KURT LEWIN .................................................................... 198
LANGUAGE........................................................................ 199
LANGUAGE/BASIC LANGUAGE .................................... 199
LANGUAGE/DEVELOPMENT.......................................... 200
LAW/THE LAW OF SOCIAL GRAVITATION............ 200
LAW/THE SOCIODYNAMIC LAW................................... 201
LAW/THE SOCIOGENETIC LAW..................................... 203
LEADERSHIP..................................................................... 204
LEARNING ......................................................................... 205
LEARNING/AUTONOMY.................................................. 205
LEARNING/OVERLEARNER/UNDERLEARNER........... 206
LEARNING/SPONTANEITY.............................................. 206
LEARNING/WARMING UP .............................................. 207
LIVING NEWSPAPER...................................................... 207
LIVING NEWSPAPER/DISUSE......................................... 209
LIVING NEWSPAPER/HISTORY...................................... 209
LIVING NEWSPAPER/PRESS REACTION ..................... 210
LOCOGRAM ...................................................................... 211
LOCUS................................................................................. 211
LOCUS/LOCUS NASCENDI .............................................. 211
LOCUS/MATRIX/STATUS NASCENDI ........................... 212
LOGOID .............................................................................. 213
LONGEVITY ...................................................................... 213
LONGEVITY/PREVENTING LONGEVITY ..................... 213
MAGIC................................................................................. 214
MAGIC/PSYCHODRAMA AS MAGIC ............................. 214
MAGIC/SCIENCE VERSUS MAGIC................................. 214
MAN/MANKIND................................................................ 215
MAN/MANKIND/HOW TO STUDY.................................. 215
MAN/MANKIND/HUMAN PERSON ................................ 215
MARTIN BUBER ............................................................... 216
MATRIX OF IDENTITY................................................... 216
MATRIX OF IDENTITY/DELUSIONS.............................. 217
MATRIX OF IDENTITY/TIMING/AMNESIA .................. 217
MEETING ........................................................................... 218
MEGALOMANIA............................................................... 218
MEGALOMANIA/NORMAL FUNCTION ........................ 219
MEMORY............................................................................ 219
MEMORY/SPONTANEITY................................................ 220
MENTAL HEALTH........................................................... 220
MENTALLY RETARDED GROUP................................. 221
METAPHYSICS ................................................................. 221
METAPRAXIS.................................................................... 222
METATHEATER............................................................... 224
METHOD ............................................................................ 224
METHOD/FUTURE PROJECTION.................................... 224
METHOD/DEEP ACTION METHODS.............................. 225
METHOD/PSYCHODRAMATIC METHOD ..................... 225
METHOD/SPONTANEOUS IMPROVISATION............... 225
MIRROR TECHNIQUE.................................................... 226
MITTENDIRF- ................................................................... 226
MITTENDIRF/THE FIRST SOCIOMETRIC PLAN.......... 226
MOMENT............................................................................ 227
MOMENT/HENRY BERGSON .......................................... 229
MOMENT/THEATER/IMPROVISATION......................... 231
MORENO ............................................................................ 229
MORENO/DENYING ANY KIND OF FATHERS ............ 229
MORENO/MORENO’S INVENTIONS/VEHICLES ABD GRAPHIC
INVENTIONS.................................................... 230
MORENO/U.S.A. ................................................................. 230
MOTHER ............................................................................ 231
MOTHER/AS AN AUXILIARY EGO.............................. 231
MOTHER/RELATIONSHIP BETWEEN MOTHER AND CHILD
.................................................................................. 232
MOTHER/ROLE OF MOTHER .......................................... 232
MOTION PICTURE........................................................... 233
MOTIONPICTURE/THERAPEUTIC PICTURE/AUDIENCE
............................................................................................... 233
MOTION PICTURE/THERAPEUTIC PICTURE/AUDIO-EGOS
.................................................................................... 234
MOTIONPICTURE/THERAPEUTIC PICTURE/CAST..... 234
MOTIONPICTURE/THERAPEUTIC PICTURE/CATHARSIS
............................................................................................... 234
MOTIONPICTURE/THERAPEUTIC PICTURE/DEFINITION
............................................................................................... 235
MOTIONPICTURE/THERAPEUTIC PICTURE/DIRECTOR
............................................................................................... 236
MOTIONPICTURE / THERAPEUTIC PICTURE/HISTORY
............................................................................................... 237
MOTIONPICTURE/THERAPEUTIC PICTURE/MAIN
OBJECT................................................................................ 237
MOTIONPICTURE/THERAPEUTIC PICTURE/METHODOLOGY.............................................. 237
MOTIONPICTURE/THERAPEUTIC PICTURE /PRE-TEST
............................................................................................... 238
MOTIONPICTURE/THERAPEUTIC PICTURE/PRODUCTION................................................... 238
MOTIONPICTURE/THERAPEUTIC PICTURE/PSEUDO THERAPEUTIC
................................................................... 239
MOTIONPICTURE/THERAPEUTIC PICTURE/THERAPEUTIC FACTOR................................. 239
MUSIC ................................................................................. 241
MYSTICS AND MONKS................................................... 241
NARCISSISM...................................................................... 241
NETWORK ......................................................................... 242
NETWORK /FEAR OF THE PSYCHOLOGICAL
NETWORKS......................................................................... 242
NETWORK/MANIPULATION OF NETWORKS.............. 242
NETWORK/PSYCHOGEOGRAPHICAL........................... 242
NETWORK/SOCIOMETRIC .............................................. 243
NEUROSIS .......................................................................... 243
NEUROSIS/HISTRIONIC NEUROSIS............................... 243
NEUROSIS/INTERPERSONAL NEUROSIS ..................... 244
NEUTRALITY.................................................................... 244
NORMÓTIC........................................................................ 244
ORGANIZATIONS ............................................................ 245
ORGANIZATIONS/INTROVERTED FAMILIES.............. 245
ORGANIZATIONS/KINDS OF ORGANIZATIONS......... 245
ORGANIZATIONS/KINDS OF ORGANIZATIONS /CHANGE OF ORGANIZATIONS
..................................... 246
ORIGINALITY................................................................... 247
PARANOIA......................................................................... 248
PARANOIA/REALIZATION PARANOIA......................... 248
PARANOIA/SOCIOMETRIC PARANOIA........................ 248
PARTICIPANT OBSERVER ........................................... 248
PATHOLOGY/PSYCHO- AND SOCIO-PATHOLOGY249
PERSONA............................................................................ 250
PERSONA/PSYCHOSIS...................................................... 250
PERSONALITY.................................................................. 251
PERSONALITY / ANALYZING OTHERS PERSONALITY
............................................................................................... 251
PHYSICAL ATTRACTION.............................................. 252
PHYSICAL CONTACT/LIMITATION........................... 253
PLAY.................................................................................... 253
PREGNANCY..................................................................... 254
PRESENTIFICATION ...................................................... 254
PRINCIPLE OF SOCIOMETRIC TRANSPLANTATION
............................................................................................... 255
PROJECTION .................................................................... 255
PROLETARIAT ................................................................. 256
PROLETARIAT/SOCIOMETRIC PROLETARIAT .......... 256
PROMETHEUS/THE MYTH OF PROMETHEUS AND
PSYCHODRAMA............................................................... 256
PROSTITUTES................................................................... 257
PROSTITUTES/AIM OF THE WORK WITH.................... 257
PROTAGONIST ................................................................. 258
PROTOCOLS...................................................................... 259
PROTOCOLS/ADOLESCENT CASE................................. 259
PROTOCOLS/BÁRBARA CASE........................................ 259
PROTOCOLS/HITLER CASE............................................. 259
PROTOCOLS/MARIE CASE .............................................. 259
PROTOCOLS/PSYCHODRAMA OF A DREAM.............. 259
PROTOCOLS/PSYCHODRAMA OF A MARRIAGE ....... 259
PROTOCOLS/ROBERT CASE ........................................... 260
PSYCHE .............................................................................. 260
PSYCHODRAMA .............................................................. 260
PSYCHODRAMA/BEGINNINGS ..................................... 260
PSYCHODRAMA/CLASSIFICATION/”A DEUX”........... 262
PSYCHODRAMA/CLASSIFICATION/”A DEUX”/TECHNIQUE OF SELF
PRESENTATION........... 264
PSYCHODRAMA/CLASSIFICATION/CONFESSIONAL 264
PSYCHODRAMA/CLASSIFICATION/INDIVIDUAL...... 264
PSYCHODRAMA/CLASSIFICATION/PEDAGOGIC ..... 265
PSYCHODRAMA/CONCEPT/DEFINITION..................... 266
PSYCHODRAMA/DREAM WORK ................................... 268
PSYCHODRAMA/HISTORY.............................................. 270
PSYCHODRAMA/INTERPRETATION............................. 270
PSYCHODRAMA/KING’S PSYCHODRAMA ................. 270
PSYCHODRAMA/MAGIC.................................................. 271
PSYCHODRAMA/MEANING OF THE NAME ................ 271
PSYCHODRAMA/PSYCHOANALYSIS ........................... 271
PSYCHODRAMA /PSYCHOANALYSIS /COMPLIMENTS TO FREUD
........................................................................... 272
PSYCHODRAMA/PSYCHODRAMATIC METHOD........ 272
PSYCHODRAMA/PSYCHODRAMATIC METHOD/COUNTER-
INDICATIONS............................... 273
PSYCHODRAMA/PSYCHOSIS ......................................... 273
PSYCHODRAMA/RESEARCH ......................................... 273
PSYCHODRAMA/SESSION/END OF A SESSION.......... 273
PSYCHODRAMA/SETTING .............................................. 274
PSYCHODRAMA/SOCIO-PSYCHODRAMA .................. 274
PSYCHODRAMA/SUBJECT.............................................. 274
PSYCHODRAMATIC EFFECT....................................... 274
PSYCHODRAMATIC SHOCK TREATMENT ............. 275
PSYCHODRAMATIC SHOCK TREATMENT/DIFFICULTIES........................................... 276
PSYCHODRAMATIC SHOCK TREATMENT/METHOD 277
PSYCHODRAMATIC SHOCK TREATMENT/PSYCHOSIS
............................................................................................... 277
PSYCHODRAMATIC SHOCK TREATMENT/TIMING .. 278
PSYCHODRAMATIC TECHNIQUE ............................. 278
PSYCHODRAMATIC TECHNIQUE/ANALYSIS AFTER EVERY
SCENE.................................................................... 278
PSYCHODRAMATIC TECHNIQUE/AUXILIARY WORLD
............................................................................................... 276
PSYCHODRAMATIC TECHNIQUE/DOUBLE
TECHNIQUE/DEFINITION................................................ 280
PSYCHODRAMATIC TECHNIQUE/DOUBLE TECHNIQUE/HISTORY
..................................................... 281
PSYCHODRAMATIC TECHNIQUE/DOUBLE TECHNIQUE/MIRROR TECHNIQUE
.............................. 282
PSYCHODRAMATIC TECHNIQUE/DOUBLE TECHNIQUE/MOTHER –CHILD RELATIONSHIP
........ 282
PSYCHODRAMATIC TECHNIQUE/DOUBLE TECHNIQUE/MULTIPLE
DOUBLE.................................. 283
PSYCHODRAMATIC TECHNIQUE/DOUBLE TECHNIQUE/PSYCHOSIS
................................................. 283
PSYCHODRAMATIC TECHNIQUE/DOUBLE TECHNIQUE/SOLILOQUY-DOUBLE
TECHNIQUE ...... 284
PSYCHODRAMATIC TECHNIQUE /END OF A SESSION
............................................................................................... 284
PSYCHODRAMATIC TECHNIQUE /LEADER TENSIONS
............................................................................................... 284
PSYCHODRAMATIC TECHNIQUE/LYING TO THE CLIENT/JUSTIFICATION
.................................................. 284
PSYCHODRAMATIC TECHNIQUE/MAGIC SHOP TECHNIQUE
....................................................................... 285
PSYCHODRAMATIC TECHNIQUE/MIRROR................. 285
PSYCHODRAMATIC TECHNIQUE/MIRROR/AIMS...... 285
PSYCHODRAMATIC TECHNIQUE /MIRROR /CLIENT AS A
SPECTATOR.................................................................... 286
PSYCHODRAMATIC TECHNIQUE/MIRROR/DEVELOPMENT STAGES ........ 286
PSYCHODRAMATIC TECHNIQUE/PLAY TECHNIQUES/CHILDREN
................................................ 287
PSYCHODRAMATIC TECHNIQUE/ROLE REVERSAL TECHNIQUE
....................................................................... 289
PSYCHODRAMATIC TECHNIQUE/ROLE REVERSAL
TECHNIQUE/AIMS............................................................. 289
PSYCHODRAMATIC TECHNIQUE/ROLE REVERSAL TECHNIQUE/AUXILIARY
EGOS..................................... 290
PSYCHODRAMATIC TECHNIQUE/ROLE REVERSAL TECHNIQUE/CONCEPT
.................................................... 290
PSYCHODRAMATIC TECHNIQUE/ROLE REVERSAL TECHNIQUE/DEVELOPMENTAL
STAGES ................... 291
PSYCHODRAMATIC TECHNIQUE/ROLE REVERSAL TECHNIQUE/DOUBLE TECHNIQUE
.............................. 287
PSYCHODRAMATIC TECHNIQUE/ROLE REVERSAL TECHNIQUE/EMPATY
...................................................... 294
PSYCHODRAMATIC TECHNIQUE/ROLE REVERSAL TECHNIQUE/ETHNIC
ISSUES.......................................... 295
PSYCHODRAMATIC TECHNIQUE/ROLE REVERSAL TECHNIQUE/SOCIAL STATUS
....................................... 297
PSYCHODRAMATIC TECHNIQUE/ROLE REVERSAL TECHNIQUE/SOCRATES
................................................. 297
PSYCHODRAMATIC TECHNIQUE/ROLE REVERSAL
TECHNIQUE/TECHNIQUES.............................................. 298
PSYCHODRAMATIC TECHNIQUE/SELF PRESENTATION TECHNIQUE
....................................................................... 298
PSYCHODRAMATIC TECHNIQUE/SELF REALIZATION TECHNIQUE
....................................................................... 299
PSYCHODRAMATIC TECHNIQUE/SOLILOQUY.......... 300
PSYCHODRAMATIC TECHNIQUE/SOLILOQUY/DIFFICULTIES .................... 300
PSYCHODRAMATIC TECHNIQUE/SYMBOLIC TECHNIQUE
....................................................................... 300
PSYCHOGEOGRAPHIC MAPPING ............................. 300
PSYCHOGEOGRAPHICAL PROJECTION.................. 301
PSYCHOLOGICAL GEOGRAPHY................................ 301
PSYCHOLOGICAL NETWORK..................................... 302
PSYCHOMUSIC................................................................. 302
PSYCHOMUSIC/BUSINESS OF THE MUSICIANS ....... 304
PSYCHOMUSIC/HISTORY ............................................... 304
PSYCHOMUSIC/IMPROVISATION IN MUSIC .............. 305
PSYCHOSIS ....................................................................... 305
PSYCHOSIS/AUXILIARY EGO......................................... 307
PSYCHOSIS/AUXILIARY WORLD ................................. 307
PSYCHOSIS/INTERVIEW ................................................. 307
PSYCHOSIS/PSYCHODRAMA ......................................... 308
PSYCHOSIS/SOCIAL ATOM............................................. 309
QUOTIENT......................................................................... 309
QUOTIENT/CULTURAL QUOTIENT............................... 309
QUOTIENT/SPONTANEITY QUOTIENT......................... 310
QUOTIENT/SPONTANEITY QUOTIENT/MOTION
PICTURE.............................................................................. 311
QUOTIENT/SPONTANEITY QUOTIENT/THEATRE ..... 311
RACIAL QUOTIENT ........................................................ 312
RACIAL SATURATION POINT...................................... 312
RACISM .............................................................................. 313
REALITY ............................................................................ 313
REGRESSION .................................................................... 313
RELIGION .......................................................................... 314
RESISTANCE..................................................................... 315
RESISTANCE/AUXILIARY EGO...................................... 315
RESISTANCE/SOCIOMETRIC TEST................................ 316
RESISTANCE/SPONTANEOUS ACTOR.......................... 319
RESISTANCE/TO DRAMATIZE ....................................... 319
RETROJECTION............................................................... 321
RETROPATHY .................................................................. 321
REVOLUTION ................................................................... 322
REVOLUTION/CREATIVE REVOLUTION ..................... 322
REVOLUTION/TREE REVOLUTIONS PSYCHIATRIC.. 322
ROBOT ............................................................................... 323
ROBOT/MAN ...................................................................... 324
ROBOTS/FUTURE .............................................................. 324
ROBOTS/HOW TO LIVE WITH THEM............................ 325
ROBOTS/HUMAN REASONS FOR ITS INVENTION..... 325
ROBOTS/IMMORTALITY ................................................. 326
ROBOTS/PATHOLOGICAL CONSEQUENCES .............. 326
ROBOTS/TOYS/DOLLS ..................................................... 326
ROLE/ .................................................................................. 327
ROLE/BEGINNING OF THE CONCEPT .......................... 327
ROLE/CATEGORIES OF ROLES....................................... 328
ROLE/COMPLEMENTARY ROLE.................................... 328
ROLE/CONCEPT................................................................. 329
ROLE/DEVELOPMENT OF ............................................... 330
ROLE/G.H.MEAD/CRITICISM.......................................... 331
ROLE/HISTORY.................................................................. 331
ROLE/MATRIX OF IDENTITY.......................................... 332
ROLE/MULTIPLE ROLES.................................................. 332
ROLE/PSYCHODRAMATIC ROLE................................... 333
ROLE/PSYCHOSOMATIC ROLES.................................... 333
ROLE/ROLE PLAYING...................................................... 334
ROLE-PLAYING/ROLE THERAPY .................................. 337
ROLE/ROLE TAKING ........................................................ 339
ROLE/SELF/EGO................................................................. 340
ROLE/SOCIAL ROLE ......................................................... 342
ROLE/TESTING ROLES..................................................... 343
RORSCHACH X PSICODRAMA ................................... 345
RULE.................................................................................... 346
RULE/RULE OF DYNAMIC DIFFERENCE IN GROUP STRUCTURE, PERIPHERAL VERSUS
CENTRAL..................................................................346
RULE/PERFORMANCE................................................... 346
RULE / RULE OF COACTION OF THE RESEARCHER WITH
GROUP...................................................................... 346
RULE/RULE OF GRADUAL INCLUSION OF ALL EXTRANEOUS
CRITERIA................................................. 347
RULE/RULE OF THE WARMING UP PROCESS OR ACTIVE
PRODUCTIVITY.................................................. 347
RULE /RULE OF UNIVERSAL PARTICIPATION IN
ACTION................................................................................ 347
SCIENCE............................................................................. 348
SCIENCE/CRITICISM AGAINST ...................................... 348
SCIENCE/GROUP PSYCHOTHERAPEUTIC PRACTICE
VALIDATION...................................................................... 349
SCIENCE/HUMAN NARCISSISM..................................... 349
SCIENCE/MAGIC BELIEFS............................................... 350
SCIENCE/MORENO - SCIENTIST .................................... 350
SCIENCE/PSYCHODRAMATIC METHOD AND
OBJECTIVITY..................................................................... 351
SELF..................................................................................... 353
SELF/ACTOR/OBSERVER ................................................ 353
SELF/CREATIVE................................................................. 354
SELF/DEFINITION.............................................................. 354
SELF/PARTIAL SELF/MANY SELVES............................ 355
SELF/MEASURING............................................................. 356
SELF/STRUCTURE OFF THE SELF ................................. 356
SELFISHNESS.................................................................... 357
SEXUALITY ....................................................................... 357
SHARING...........................................................357
SITUATION MATRIX....................................................... 358
SITUATION TEST............................................................... 358
SLANG................................................................................. 358
SOCIAL ATOM (SEE ATOM/SOCIAL)......................... 358
SOCIAL ATOM/PSYCHOSIS............................................. 358
SOCIAL CHANGE............................................................. 359
SOCIAL DISTANCE.......................................................... 360
SOCIAL ENTROPY .......................................................... 360
SOCIAL FUNCTION VERSUS PSYCHOLOGICAL FUNCTION
......................................................................... 361
SOCIAL QUOTIENT......................................................... 361
SOCIAL REALITY............................................................ 361
SOCIAL TRICOTOMY..................................................... 362
SOCIATRY.......................................................................... 363
SOCIATRY/HYPOTHESES................................................ 363
SOCIATRY/SOCIOMETRY................................................ 364
SOCIODRAMA .................................................................. 364
SOCIODRAMA/GROUP PSYCHOTHERAPY.................. 364
SOCIODRAMA/GROUP PSYCHOTHERAPY/INDIVIDUAL PSYCHOTHERAPY/COLLECTIVE
GROUP PSYCHOTHERAPY ........................................................... 365
SOCIODRAMA/ROOTS...................................................... 366
SOCIODRAMA/SUBJECT.................................................. 366
SOCIODRAMA/TEACHING TECHNIQUE ...................... 366
SOCIODRAMATIST ......................................................... 367
SOCIODYNAMIC EFFECT ............................................. 367
SOCIOGENICS/EUGENICS ............................................ 368
SOCIOGRAM..................................................................... 368
SOCIOGRAM/OBSERVER................................................. 369
SOCIOID ............................................................................. 369
SOCIOMATRIX................................................................. 370
SOCIOMETRIC AND SOCIOGENIC DEMOCRACY. 370
SOCIOMETRIC CLASSIFICATION.............................. 370
SOCIOMETRIC CLASSIFICATION/COMMON TERMS 371
SOCIOMETRIC CONSCIOUSNESS............................... 371
SOCIOMETRIC GEOGRAPHY...................................... 372
SOCIOMETRIC INVESTIGATOR ................................ 372
SOCIOMETRIC LEADER................................................ 373
SOCIOMETRIC LEVELS ................................................ 374
SOCIOMETRIC MATRIX................................................ 374
SOCIOMETRIC MOVEMENT/HELPERS .................... 375
SOCIOMETRIC QUESTIONNAIRE ............................. 376
SOCIOMETRIC SCORE .................................................. 376
SOCIOMETRIC STATUS................................................. 377
SOCIOMETRIC STATUS/ACCIDENT PRONENESS ...... 377
SOCIOMETRIC STRUCTURES...................................... 377
SOCIOMETRIC TEST/SOCIOMETRIC SELF-RATING
............................................................................................... 378
SOCIOMETRIC TEST/SOCIOMETRIC SELF-RATING/ SOCIOMETRIC PERCEPTION TEST
............... 379
SOCIOMETRIC TRANSPLANTATION/SOCIOMETRIC
ASSIGNMENT.................................................................... 380
SOCIOMETRIC TRANSPLANTATION/SOCIOMETRIC ASSIGNMENT/ASSIGNMENT
VALUE............................ 380
SOCIOMETRIC TWINS ................................................... 381
SOCIOMETRY................................................................... 381
SOCIOMETRY/ADVANTAGES ........................................ 381
SOCIOMETRY/ATTRACTION AND REPULSION ......... 382
SOCIOMETRY/CONCEPT ................................................. 382
SOCIOMETRY /CURRENT SOCIOMETRIC TERMS COINED BY J. L.
MORENO............................................... 383
SOCIOMETRY/CURRENT SOCIOMETRIC TERMS INTRODUCED BY OTHER
............................................... 383
SOCIOMETRY/ETHICS...................................................... 384
SOCIOMETRY/HISTORY .................................................. 384
SOCIOMETRY/HYPOTHESES.......................................... 385
SOCIOMETRY/QUANTITATIVE EXACTNESS ............. 387
SOCIOMETRY/RELIGION................................................. 387
SOCIOMETRY/SUBJECT................................................... 388
SOCIOMETRY /THREE DEPARTMENTS OF RESEARCH
............................................................................................... 388
SOCIOMETRY/TRAINING THE SOCIOMETRIC INVESTIGATOR
................................................................. 388
SOCIOMETRY/URBANISM .............................................. 389
SOCIONOMIC HIERARQUY.......................................... 389
SOCIO-PSYCHODRAMA ................................................ 389
SOCIOSIS/SOCIOTIC....................................................... 390
SOCRATES/ROLE REVERSAL...................................... 390
SOLILOQUY ...................................................................... 391
SOLILOQUY/THERAPIST SOLILOQUY ......................... 391
SPACE FOR PSYCHODRAMA....................................... 391
SPEECH DISORDERS ..................................................... 392
SPONTANEITY.................................................................. 393
SPONTANEITY/CATHARSIS............................................ 393
SPONTANEITY/CONCEPT................................................ 393
SPONTANEITY/CONCEPT/BEGUININGS ...................... 394
SPONTANEITY/COUNTER SPONTANEITY................... 395
SPONTANEITY/CULTURAL CONSERVES .................... 395
SPONTANEITY/CURE ....................................................... 396
SPONTANEITY/DISCIPLINE ............................................ 396
SPONTANEITY/FEAR OF SPONTANEITY..................... 396
SPONTANEITY/FORMS OF SPONTANEITY.................. 396
SPONTANEITY/FUTURE .................................................. 397
SPONTANEITY/OPERATIONAL DEFINITION ............. 399
SPONTANEITY/PATHOLOGY OF ................................... 399
SPONTANEITY/PHYLOGENY.......................................... 400
SPONTANEITY/RESIDUA OF SPONTANEITY ............. 401
SPONTANEITY/ROOTS OF THE WORD......................... 401
SPONTANEITY/S FACTOR/ENERGY/CATALYST........ 403
SPONTANEITY /S FACTOR/INTELLIGENCE
/CREATIVITY...................................................................... 405
SPONTANEITY/S FACTOR/PHYSICAL DEVELOPMENT/MENTAL DEVELOPMENT.................
408
SPONTANEITY/SOCIOMETRIC NETWORK.................. 409
SPONTANEITY/SPONTANEITY STATE ......................... 410
SPONTANEITY/TEST ........................................................ 412
SPONTANEITY/TEST/AUDIENCE................................... 414
SPONTANEITY/TEST/PROCEDURE................................ 414
SPONTANEITY/TEST/SAMPLE........................................ 414
SPONTANEITY/THEORIES ABOUT................................ 414
SPONTANEITY/TRAINING............................................... 415
SPONTANEITY/WARMING UP PROCESS...................... 418
STAGE ................................................................................. 419
STAGE/DIVÃ....................................................................... 419
STAGE/HISTORY ............................................................... 422
STANISLAVSKI................................................................. 423
STANISLAVSKI/CONSERVE............................................ 423
STANISLAVSKI/FREUD.................................................... 423
STANISLAVSKI/IMPROVISATION/AS A PRIMARY PRINCIPLE
.......................................................................... 424
STARTER............................................................................ 425
STARTER/BODILY STARTERS........................................ 425
STARTER/ECONOMIC STARTER.................................... 425
STARTER/MENTAL STARTER ........................................ 426
STARTER/RELATIONSHIP STARTER ............................ 426
STARTER/THERAPEUTIC IMAGES ................................ 427
STATUS .............................................................................. 427
STATUS/LEADERS........................................................... 427
STATUS/NASCENDI .......................................................... 427
STATUS NASCENDI/LOCUS/MATRIX .......................... 428
STATUS/SOCIOMETRIC STATUS/EXPOSITION TO
INJURY................................................................................. 429
STATUS/SOCIOMETRIC STATUS/OPERATIONAL
DEFINITION........................................................................ 429
STATUS/SOCIOMETRIC STATUS/PARTIALITY........... 429
STATUS/SOCIOMETRIC STATUS/STABILIZATION.... 429
STATUS/SOCIOMETRIC STATUS/VERBAL EXCHANGE
............................................................................................... 430
STATUS/SOCIOMETRIC STATUS/VOLUME OF
INTERACTIONS.................................................................. 431
STUTTERING..................................................................... 432
SUICIDE/TO COMMIT SUICIDE................................... 433
SULLIVAN.......................................................................... 434
SURPLUS REALITY ......................................................... 434
SURPRISE........................................................................... 434
TECHNIQUE (SEE PSYCHODRAMATIC TECHNIQUE)
............................................................................................... 436
TECHNOLOGY.................................................................. 436
TECHNOLOGY/TECHNOLOGICAL DEVICES............... 436
TELE.................................................................................... 436
TELE/ARISTOTELE............................................................ 436
TELE/AUTOTELE............................................................... 437
TELE/BEGINNINGS ........................................................... 439
TELE/COGNITIVEVERSUS CONATIVE TELE ............. 439
TELE/DEFINITIONS .......................................................... 440
TELE/DEVELOPMENT ...................................................... 442
TELE/GROUP TELE ........................................................... 443
TELE/INFRATELE.............................................................. 443
TELE/MUSICAL TELE....................................................... 444
TELE/PSYCHOTHERAPY.................................................. 444
TELE/RACIAL TELE ......................................................... 445
TELE/ROOTS OF THE NAME .......................................... 445
TELE/SEXUAL TELE ......................................................... 446
TELE/SIXTY SENSE/HEIGHTENED SENSITIVITY....... 446
TELE/SOCIAL ATOM......................................................... 448
TELE/SOCIOMETRIC SELF-RATING.............................. 448
TELE/SPONTANEITY VERSUS CREATIVITY............... 449
TELE/TELE EFFECT........................................................... 450
TELE/TELE FACTOR ......................................................... 450
TELE/TELE MATRIX/ACTION MATRIX ........................ 450
TELE/TELE VERSUS GENE.............................................. 451
TELE/TRANSFERENCE/EMPATHY................................. 451
TELEVISION...................................................................... 453
TELEVISION/ADVANTAGES........................................... 454
TELEVISION/DIRECTOR .................................................. 454
TELEVISION/FUTURE....................................................... 455
TELEVISION/GRATITUDE ............................................... 455
TELEVISION/LIMITATIONS............................................. 455
TELEVISION/RESEARCH ................................................. 456
TELEVISION/TECHNOLOGY/PSYCHODRAMA .......... 456
TEST .................................................................................... 456
TEST/ACQUAINTANCE TEST.......................................... 456
TEST/ACQUAINTANCE TEST/USES............................... 457
TEST/ACTION PERCEPTION TEST ................................. 458
TEST/QUOTATION TEST.................................................. 458
TEST/ROLE/CONCEPT ...................................................... 458
TEST/ROLE/METHOD ....................................................... 459
TEST/SOCIOMETRIC PERCEPTION TEST .................... 459
TEST/SOCIOMETRIC SELFRATING/SOCIOMETRIC
PERCEPTION....................................................................... 459
TEST/SOCIOMETRIC TEST/SUPPLEMENTARY
TECHNIQUES...................................................................... 459
TEST/SOCIOMETRIC TEST/ADVANTAGES.................. 460
TEST/SOCIOMETRIC TEST/ATTRACTION AND REPULSION
........................................................................ 460
TEST/SOCIOMETRIC TEST/CONCEPT........................... 461
TEST/SOCIOMETRIC TEST/LIMITS................................ 462
TEST/SOCIOMETRIC TEST/MAIN SUBJECT................. 462
TEST/SOCIOMETRIC TEST/NEAR-SOCIOMETRIC SITUATIONS
...................................................................... 463
TEST/SOCIOMETRIC TEST/PHASES OF THE TEST .... 463
TEST/SOCIOMETRIC TEST/REQUISITIONS ................. 464
TEST/SOCIOMETRIC TEST/RESISTANCE .................... 465
TEST/SOCIOMETRIC TEST/SOCIOMETRIC CONSCIOUSNESS
............................................................. 466
TEST/SOCIOMETRIC TEST/SOCIOMETRIC SCORE ... 467
TEST/SOCIOMETRIC TEST/SOCIOMETRIC SELF-RATING/ SOCIOMETRIC PERCEPTION
TEST (SEE IN SOCIOMETRIC TEST/SOCIOMETRIC SELF-RATING/ SOCIOMETRIC
PERCEPTION TEST) .............. 467
TEST/SOCIOMETRIC TEST/SUB-GROUPS ................... 468
TEST/SPONTANEITY (see in spontaneity/test).................. 468
TEST/SPONTANEITY/AUDIENCE (see in spontaneity/test/audience)
..................................................... 468
TEST/SPONTANEITY/PROCEDURE (see in 4spontaneity/test/procedure)
................................................. 468
TEST/TEST OF EMOTIONAL EXPANSIVENESS (A158see in emotional
expansiveness/testing)...................................... 468
THEATRE OF SPONTANEITY....................................... 469
THEATRE OF SPONTANEITY/AIMS............................... 469
THEATRE OF SPONTANEITY/ARTISTS, PSYCHOLOGISTS AND ANALYSTS THAT BELONG
TO THE STEGREIFTHEATER................................................. 469
THEATRE OF SPONTANEITY/AUDIENCE THEATRE 470
THEATRE OF SPONTANEITY/CONCEPT....................... 470
THEATRE OF SPONTANEITY/FUNCTIONS OF ............ 471
THEATRE OF SPONTANEITY/ IMPROMPTU THEATRE
............................................................................................... 472
THEATRE OF SPONTANEITY/PREMISES...................... 473
THEATRE OF SPONTANEITY/PROBLEMS WITH THE AUDIENCE
......................................................................... 473
THEATRE OF SPONTANEITY/THE LEGITIMATE THEATRE
............................................................................ 474
THEATRE OF SPONTANEITY/THEATRE OF CONFLICT
............................................................................................... 475
THEOMETRY.................................................................... 475
THEORY ............................................................................. 475
THEORY/PSYCHODRAMA .............................................. 475
THEORY / THEORY OF INTERPERSONAL RELATIONS
............................................................................................... 476
THEORY/THEORY OF SPONTANEOUS LEARNING.... 476
THERAPEUTIC AGENT.................................................. 477
THERAPEUTIC THEATER............................................. 477
THERAPEUTIC THEATRE/CONCEPT............................. 477
THERAPEUTIC THEATRE/THEATRE OF SPONTANEITY
............................................................................................... 479
THERAPIST/PSYCHODRAMA....................................... 479
THEATRE/THERAPY ..................................................... 479
THERAPIST/PSYCHODRAMA/INVOLVEMENT ........... 480
THERAPY........................................................................... 481
THERAPY/AT A DISTANCE............................................. 481
THERAPY/INTERPERSONAL........................................... 481
THERAPY/INTERPERSONAL/MORENO ........................ 481
THERAPY/INTERPERSONAL/SULLIVAN...................... 482
TOTALITY OF HUMAN SOCIETY .............................. 482
TOYS.................................................................................... 482
TOYS/DOLLS ...................................................................... 482
TRANSFERENCE.............................................................. 484
TRANSFERENCE/COUNTER-TRANSFERENCE............ 484
TRANSFERENCE/TRANSFIGURATION......................... 485
TRANSFORMATION HUNGER .................................... 485
TRAUMA............................................................................. 485
TREMBLING...................................................................... 486
TRIAD/THERAPEUTIC TRIAD...................................... 486
UNCONSCIOUS ................................................................. 486
UNCONSCIOUS/BEGINNINGS OF THE CONCEPT....... 486
UNCONSCIOUS/COLLECTIVE UNCONSCIOUS ........... 487
UNCONSCIOUS/COMMON UNCONSCIOUS/CO-UNCONSCIOUS
.................................................................. 487
UNCONSCIOUS/COMMON UNCONSCIOUS/CO-UNCONSCIOUS/CRITICISM AGAINST
JUNG............... 490
UNIVERSAL AXIOMA..................................................... 490
UNIVERSE/FIRST UNIVERSE........................................ 491
UTOPIA/MORENIAN UTOPIA....................................... 491
UTOPIA/MORENIAN UTOPIA/SOCIOMETRIC TEST... 491
UTOPIA/MORENIAN UTOPIA/TELE............................... 493
UTOPIA/MORENIAN UTOPIA/THERAPY ...................... 493
VISUALIZATION/BEGINNINGS OF NA INTERNAL
PSYCHODRAMA............................................................... 494
WARMING UP PROCESS................................................ 495
WARMING UP PROCESS/ABORTIVE............................. 496
WARMING UP PROCESS/ACTORS ................................ 496
WARMING UP PROCESS/ACTORS/BODY TRAINING OF
............................................................................................... 496
WARMING UP PROCESS/BEGINNING........................... 497
WARMING UP PROCESS/DIRECTOR ............................. 497
WARMING UP PROCESS/FEED-BACK........................... 497
WARMING UP PROCESS/FOR GROUPS ........................ 498
WARMING UP PROCESS / INDIVIDUAL DIFFERENCES
............................................................................................... 499
WARMING UP PROCESS/LOVE....................................... 499
WARMING UP PROCESS/MISSING OF .......................... 499
WARMING UP PROCESS/SPONTANEITY...................... 499
WARMING UP PROCESS/STARTER/CATEGORIES/BODY POSITION GENERATING
EMOTIONS............................ 500
WARMING UP PROCESS/STARTER/CATEGORIES/OVERHEATED -
RUDIMENTARY................................................................ 501
WARMING UP PROCESS/STARTER/CATEGORIES/PHYSICAL ........... 502
WARMING UP PROCESS/STARTER/CATEGORIES/PHYSICAL VERSUS VERBAL
.............................................................................. 503
WARMING UP PROCESS/STARTER/CATEGORIES/PHYSICAL/MENTAL VERSUS PHYSICAL
WARM UP...........................................................................................503
WARMING UP PROCESS/STARTER/CATEGORIES/SELF-
STARTER............................................................................. 503
WITHDRAWAL FROM REALITY ................................ 504
WORD.................................................................................. 504
WORDS/WORDS VERSUS ACTION ................................ 504
ZONES ................................................................................. 506
ZONES/LOCUS NASCENDI/WARMING UP PROCESS. 506
ZOOMATICS...................................................................... 507
ZOOMATICS/ROBOTS ...................................................... 507
ZOOMATICS/ROBOTS/DOLLS ........................................ 509
ZOOMATICS/ROBOTS/FUTURE...................................... 509
ZOOMATICS/ROBOTS/HOW TO LEAVE WITH THEM 509
ZOOMATICS/ROBOTS/PHATOLOGICAL
CONSEQUENCES............................................................... 510
ZOOMATICS/ROBOTS/REAZONS FOR IT´S INVENTION
............................................................................................... 510
ZOOMATICS/ROBOTS/ROBOTS IMORTALITY............ 511
A

ABREACTION
... A variety of improvisation is often called “abreaction.” Whereas improvisation has an esthetic
aim and is characterized by some degree of freedom, abreaction has no conscious esthetic aim, it is
unfroze and compulsory. Both have a low degree of mental organization.
Theatre of Spontaneity p. 79
El Teatro de la Espontaneidad p. 141
Teatro da Espontaneidade p. 96

Psychodramatic production consists of structured scenes, each scene of structured roles, and each
role of structured interactions. The various abreactions are obviously interwoven into a symphony of
gestures, emotion, strivings and interactions. Several individuals – the protagonist, the auxiliary egos,
the director, and the group – take part in their development. A great deal of emotion, thinking, a
scientific and artistic skill goes into their making.
Psychodrama v. 1 p. xii
Psicoterapia de Grupo y Psicodrama p. 368 (Similar)
Psicoterapia de Grupo e Psicodrama p. 349 (Similar)

ACT HUNGER
Hypothesis VI: The “act hunger” of an individual is continuously looking for situational
opportunities for expression.
Psychodrama v. 2 p. 98
Las Bases de la Psicoterapia p. 166
Fundamentos do Psicodrama p. 114

15. The memory of the child is in his act, not in his memory. The act hunger of the child causes his
memory to be short-lived. The acts follow one another so swiftly that the memory spans between them
are short.
17. Hunger for expression is act hunger before it is word hunger.
18. The infant is so immersed in the act that he has no memory of it after it has been consummated.
As the intensity of the act hunger syndrome decreases, the memory range of the child increases.
Psychodrama v. 2 pp. 156-157
Las Bases de la Psicoterapia p. 256
Fundamentos do Psicodrama p. 173

17. Hunger for expression is act hunger before it is word hunger.

Psychodrama v. 2 p. 156
Las Bases de la Psicoterapia p. 257
 Psicoterapia de Grupo e Psicodrama p. 239

ACTING-OUT
... The confusion here is particularly increased by the different meanings of the term “acting out”.
When I introduced this term (1928), it meant acting that out which is within the patient, in contrast to
acting a role which is assigned to a patient by an outsider. It did not mean that they should not be
acted out because they camouflage a form of resistance of the patient (psychoanalytic view). I meant
just the opposite – that they should be acted out because they may represent important inner
experiences of the patient which otherwise remain camouflaged and difficult if not impossible to
interpret. In psychodramatic thinking, acting from within, or acting out, is a necessary phase in the
progress of therapy; it gives the therapist an opportunity to evaluate the behavior of the patient and
gives the patient a chance to evaluate it for himself (acting insight).
Psychodrama v. 1 p. x
Psicoterapia de Grupo y Psicodrama p. 367
Psicoterapia de Grupo e Psicodrama p. 348

The whole problem of noninvolvement goes back to the original attitude of many of the early
psychoanalysts – fear of direct love or direct hostility, their fear of acting out of the patients toward
them and their own acting out toward the patients. The confusion here is particularly increased by the
different meanings of the term “acting out”. When I introduced this term (1928), it meant acting that
out which is within the patient, in contrast to acting a role which is assigned to a patient by an
outsider. It did not mean that they should not be acted out because they camouflage a form or
resistance of the patient (psychoanalytic view). I meant just the opposite – that they should be acted
out because they may represent important inner experiences of the patient which otherwise remain
camouflaged and difficult if not impossible to interpret. In psychodramatic thinking, acting from
within, or acting out, is a necessary phase in the progress of therapy; it gives the therapist an
opportunity to evaluate the behavior of the patient and gives the patient a chance to evaluate it for
himself (acting insight).
Psychodrama v. 1 p. x
Psicodrama (Spanish) there is none
Psicodrama p. 34

... He has the urge to act-out the situation, to structure an episode; to act-out means to “live it”, to
structure it more thoroughly than life outside would permit. The problem he has is often shared by all
the members of the group.
Psychodrama v. 2 p. 191
Psicodrama Espanhol p. 308
Fundamentos do Psicodrama p. 207

... Hypothesis VIII: Acting out of a situation in a controlled environment can be a preventive
measure against irrational acting out in life itself.
Psychodrama v. 2 p. 98
Psicodrama Espanhol p. 166
 Fundamentos do Psicodrama p. 114

ACTING OUT/TWO TYPES IRRATIONAL X THERAPEUTIC

... But if natural behavior is persistently prohibited, the psychodramatic effort is in danger of
deteriorating to a game of words, a parlor game without feeling and with reduced therapeutic value.
In order to overcome the semantic confusion I suggested the we differentiate two types of acting out,
irrational, incalculable acting out in life itself, harmful to the patient or others, and therapeutic,
controlled acting out taking place within the treatment setting.
Psychodrama v. 1 p. x
Psicodrama (Spanish) there is none
Psicodrama pp. 34-35

... It is advisable, therefore, to differentiate between controllable forms of acting out taking place
within the framework of the therapeutic situation, which have a constructive aim, and uncontrollable,
irrational acting out outside of it. By making acting out techniques official and legitimate parts of
therapy the patient will expect to act out in front of the therapist the various fantasies and plans which
urge him at the moment, instead of frustrating them and turning them into resistance against cure. The
aim of the therapeutic methods must be to provide the patients with a variety of flexible settings able
to portray the “multi-dimensional” character of life.
Psychodrama v. 2 pp. 97-98
Espanhol p. 166
Fundamentos do Psicodrama p. 114

... In order to overcome the semantic confusion I suggested the we differentiate two types of acting
out, irrational, incalculable acting out in life itself, harmful to the patient or others, and therapeutic,
controlled acting out taking place within the treatment setting.
Psychodrama v. 1 p. x
Psicoterapia de Grupo y Psicodrama p.367
Psicoterapia de Grupo y Psicodrama p.348

ACTION INSIGHT
... In psychodramatic thinking, acting from within, or acting out, is a necessary phase in the
progress of therapy; it gives the therapist an opportunity to evaluate the behavior of the patient and
gives the patient a chance to evaluate if for himself (action insight).
Psychodrama v.1, p. x Introduction to 3rd Edition
Psicodrama (Spanish) there is none
Psicodrama p. 34, Introdução à 3a Edição original InglÊs

ACTOR
The internal, material structure of the group is only in rare instances visible on the surface of social
interaction; and if it is so, no one knows for certain that the surface structure is the duplicate of the
depth structure. In order, therefore, to produce conditions by means of which the depth structure may
become visible – operationally the “organisms” of the group have to turn into “actors”; they have to
emerge presently in behalf of a common goal, a point of reference (criterion), and the “environment”
of “field” has to turn into specific, action-filled situations, charged with motivating provocations.
...The organism in the field becomes “the actor in situ”. Whole cultures can be “acted out”
piecemeal in the experimental settings of axiodrama and sociodrama, with protagonists as creators
and interpreters.
Who Shall Survive? pp. 60-61
Fundamentos de la Sociometria p. 66
Quem Sobreviverá? v.1 p. 165

ADEQUACY OF RESPONSE
Adequacy of response. The fourth consideration is that of appropriateness. A man can be creative,
original, or dramatic, but not always have spontaneously an appropriate response to new situations.
...There are three possible responses an individual may show in a novel situation confronting him:
a. No response in a situation. This means that no s factor is in evidence...
b. An old response to a new situation. ... – a response for which there was no precedent – it is here
where the s factor comes into being, in the inventiveness of engineers and in the organization of
their ideas.
c. New response to a new situation. ...A new response cannot be produced without s, although others
factors must participate, such as intelligence, memory, etc.
Thus the response to a novel situation requires a sense of timing, an imagination for
appropriateness, an originality of self-propelling in emergencies, for which a special s function must
be made responsible. It is a plastic adaptation skill, a mobility and flexibility of the self, which is
indispensable to a rapidly growing organism in a rapidly changing environment.
Psychodrama v. 1 pp. 92-93
Psicodrama (Spanish) pp. 139-140
Psicodrama pp. 142-144

ADLER
(4) The question of how Adler would react to the application of interpersonal techniques to the
treatment of ensembles and groups is easier to answer. I knew him well personally and am sure that
he would have accepted most of these techniques with enthusiasm. He was sympathetic to all
therapeutic and social investigations, as long, of course, as they gave proper acknowledgment to his
“Individual Psychologie”.
Psychodrama v. 2 p. 57
Psicodrama Espanhol p. 102
Fundamentos do Psicodrama p. 72

... It cannot be denied that Adler emphasized the importance of social relations in the therapy of
mental disorders long before others and at a time when psychoanalytic writers were stuck in the
sterile discussion of intrapsychic conflicts. But, on the other hand, the weakness in Adler was great
and explains the difficulties he encounters in finding a place “outside” of the Freudian orbit. He was
primarily a keen observer and analyst of behavior, but he never developed a technology of his own,
he was a poor stylist, a fragmentary, aphoristic thinker, unable to arrange his brilliant ideas into an
organized whole.
Psychodrama v. 2 p. 130
Psicodrama Espanhol p. 217
Psicoterapia de Grupo e Psicodrama pp. 147-148

ADULTS VERSUS CHILDREN

A cleavage between groups of children and groups of adults emerges – a social cleavage, from
about six to seven years on. It coincides in our culture with going to school, but because of the
potential readiness of the group structures formed at this age such a social cleavage would set in and
grow in any other environment, even if there were no schools – as soon as “permanent” contacts with
peers becomes possible in one way or another outside of the home.
Who Shall Survive? p. 701
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v.3, p. 190

AMBICENTRIC CRISIS
The first spontaneous enactment of a theme is the most effective. The more often the same theme is
improvised the poorer, the more empty becomes the performance, in spite of the gradually developed
routine. And the more often one and the same theme is repeated, the more the memory of the player
goes back to former parallel conditions; and the stronger this memory grows the more violent a
searching for the words once spoken and the gestures once made sets in, in consequence of psychic
inertia. … Two simultaneous and opposite tendencies are in process, and the more energetic these
are, the more desperate is the crisis. One tendency is centered on the same state by the traitor
memory. (The memory of the player corresponds to the memoranda of the prepared speech in the case
of the orator in his vain endeavor to recall what he has forgotten.) The second tendency is directed to
the unknown material in order to find a stop-gap in the depths, or, if need be, to find a suitable
catchphrase floating near the surface, in the vain effort to create something new. This collision can be
called the ambicentric crisis.
Psychodrama v. 1 p. 149
Psicodrama (Spanish) p. 206
Psicodrama p. 202

AMBIVALENCE OF CHOICE
28. Hypothesis of “ambivalence” of choice. When an individual chooses and rejects another
individual in the same test the causes may vary. a) Two or more criteria enter into their relationship
and mix up their feelings, for instance, A chooses B because he is sexually attracted to her, but he
rejects her because she is a Negro. Here a private and a collective criterion are in conflict and
produce an ambivalent choice. Another illustration is: A chooses B as a working partner but he
rejects him as a roommate; the ambivalence is explained if the two criteria are separated and two
different tests constructed. However, if a vague criterion is used, for instance, “Who is your best
friend here?” an ambivalent choice might result. In this manner sociometric analysis is able to resolve
so-called unconscious psychodynamics. b) If an individual is attracted to three individuals for the
same reason and with equal strength he may put them on the same preference level. He will then have
three first choices. But he has to decide upon one person whom he actually marries; that may produce
some degree of resentment against the one whom he does marry because he could not marry all the
three choices, at least in our culture and so ambivalence of feeling ensues. c) The ambivalence is at
times due to the mixing up for roles in a sociometric choice, for instance, she is attracted to him as a
provider, she rejects his as a lover, she is attracted to him as the father of her child, she rejects him
because he is the son of her mother-in-law and she rejects him because he is a half-Jew. We see here
that many factors enter into a “choice”; private and collective criteria, physical and axiological
criteria. But whatever the dynamic factors are which enter into choice-making, the fact that a specific
choice and decision is made by an individual indicates that the quantitative strength is, at least at the
time when the test is given, in favor of the particular individual chosen. d) The ambivalence may be
due to internal criteria, to the autotele structure in mental patients.
Who Shall Survive? pp. 709-710
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v.3 p. 200

ANIMISM
... It was the destiny of the scientific mind to destroy magic beliefs and to pay with a loss of
spontaneity, imagination and a divided philosophy of life. ... Science fiction is but one illustration,
Walt Disney’s fabulous world of animated characters is another; it is the use of auxiliary egos on the
level of motion pictures. The auxiliary ego technique itself is a form of primitive “psycho”-animism.
The techniques of the animistic philosopher rejected by analytic anthropologists as infantile magic is
returning on the therapeutic level and has been made productive in psychodrama. It is the return of
magic methods of the early cultures in a scientific age in behalf of new objectives.
Psychodrama v. 2 pp. 154-155
Las Bases de la Psicoterapia pp. 253-254
Fundamentos do Psicodrama p. 171

ANONYMITY
All my books (nine) published between 1919 and 1925, were anonymous. The greatest plague of
the twentieth century is its worship of the ego, its “egolatry”. Anonymity is the natural reaction against
it.
Who Shall Survive? p. xxxvii Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 pp. 41-42 Prelúdios

... But nature did not arrange that several women should share in the conception and pregnancy of
an infant, although it is feasible for society to arrange that several women share in its upbringing. ...In
our own civilization efforts have been made to counteract the special position, which the physical
mother and the “cultural mother”- as a genius could be called – hold in our society. … On the cultural
level too, many efforts have been made to counteract the special position of genius; one method is
well know as the scientific method, which is the organized revolt of mediocrity against genius “in the
name of science”. Another method, little understood, is the method of anonymity. … If there is no
name attached to a given product no ownership and no paternity is claimed. The origin of an idea is
removed from an individual creator and is returned to universality.
Who Shall Survive? pp. xxxviii-xxxix Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 43 Prelúdios

ANTEROS
In Greek mythology Eros is the god of love and Eris is the god of discord. Less well known is the
interesting brother of Eros, Anteros, the god of mutual love. That is how the Greeks accounted for the
forces of attraction and repulsion among men.
Who Shall Survive? p. 254
Fundamentos de la Sociometria p. 187
Quem Sobreviverá? v. 2 p. 126

ANXIETY
... But the individual craves to embody far more roles than those he is allowed to act out in life,
and even within the same role one or more varieties of it. Every individual is filled with different
roles in which he wants to become active and that are present in him in different stages of
development. It is from the active pressure which these multiple individual units exert upon the
manifest official role that a feeling of anxiety is often produced.
Psychodrama v. 1 p. V
Psicodrama (Spanish) no há
Psicodrama p. 28

ANXIETY/FEAR
Anxiety is cosmic; fear is situational. Anxiety is provoked by a cosmic hunger to maintain
identity with the entire universe (perhaps to restore the original identity of the infant in the matrix of
identity).
Psychodrama v. 2 pp. 154-155
Las Bases de la Psicoterapia pp. 253-254
Fundamentos do Psicodrama p. 171

ANXIETY/SCHIZOPHRENIA

VI. ORIGINS OF ANXIETY AND THE “TRANSFORMATION HUNGER” IN

SCHIZOPHRENIA

Anxiety is cosmic; fear is situational. Anxiety is provoked by a cosmic hunger to maintain

identity with the entire universe (perhaps to restore the original identity of the infant in the matrix of
identity). This cosmic hunger manifests itself in a) “retrojection”, drawing and receiving from other
organisms signals, ideas or feelings, to add strength to the self (expansion) or to find identity with
himself (confirmation); or b) dread of all organisms with whom he cannot co-act and share existence;
psychodramatically speaking, with whom he cannot reverse roles. These dreads are provoked by his
desire to be transformed into them as his only definite assurance of having identity. The cosmic
hunger of the child strives towards “world” realization. Self realization is only a stage in-between.
Psychodrama v. 2 p. 154
Psicoterapia de Grupo y Psicodrama pp. 253-254
Psicoterapia de Grupo e Psicodrama pp. 236-237

ANXIETY/TIME ANXIETY
Psychodrama v. 1 pp. 185-220 (A case of Anxiety Neurosis Complicated by Matrimonial
Conflict.)
Psicoterapia Grupo y Psicodrama pp. 280-313
Psicoterapia de Grupo e Psicodrama pp. 266-295 (Case Robert)

... His problem is a “time” anxiety. In his anxiety he inflicts pain upon himself, and, if necessary,
upon others. As he wants to use allotted time most efficiently, he wastes it.
Psychodrama v. 1 p. 195
Psicoterapia de Grupo y Psicodrama p. 293
Psicoterapia de Grupo e Psicodrama p. 278

... Anxiety results from “loss” of spontaneity.

Who Shall Survive? p. 42
Fundamentos de la Sociometria p. 56
Quem Sobreviverá? v. 1 p. 154
Anxiety is a function of spontaneity. ... If the response to the present situation is adequate –
“fullness” of spontaneity – anxiety diminishes and disappears. With decrease of spontaneity anxiety
increases. With entire loss of spontaneity anxiety reaches its maximum, the point of panic.
Who Shall Survive? p. 336
Fundamentos de la Sociometria p. 227
Quem Sobreviverá? v. 2 p. 199

... Anxiety sets in because there is spontaneity missing, not because “there is anxiety”, and
spontaneity dwindles because anxiety rises.
Who Shall Survive? p. 337
Fundamentos de la Sociometria p. 228
Quem Sobreviverá? v. 2 p. 199

ARISTOTELE (see TELE/ARISTOTELE)

ATOGRAM
…The therapist utilizes this and other similar guidelines to a better understanding of the group
atogram and the group sociogram and consequently, to a better understanding of these clients.
In “Friedmann, Psychotherapy in Switzerland” pp. 321-322.
 “Progress in Psychotherapy” Ed. Frieda From Reichmann and J. L. Moreno, Grune &
Stratton, New York, 1956.
Psicoterapia de Grupo y Psicodrama p. 76
Psicoterapia de Grupo e Psicodrama pp. 67-68

These methods were utilized in Switzerland by A. Friedmann (Biel-Bienne) and H. Zulliger in

groups of children.. The “atogram” of Friedemann (it is a modification of mine action diagram that he
combines with the sociogram), it is a high valuable method of diagnostic. Friedemann was the first
European psychiatrist that used in 1926, the Psychodramatic methods in psychiatric clients, based on
my book about the theatre of improvisation.
In “Friedmann, Psychotherapy in Switzerland” pp. 321-322. “Progress in Psychotherapy” Ed.
Frieda From Reichmann and J. L. Moreno, Grune & Stratton, New York, 1956.
Psicoterapia de Grupo y Psicodrama pp. 149-150
Psicoterapia de Grupo e Psicodrama p. 132

ATOM
Atom is derived from a Greek word “atoms” meaning “any very small thing”. The term was
introduced into scientific language by Democritos.
Who Shall Survive? p. 69
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 172

ATOM/CULTURAL
… The pattern of role relations around an individual as their focus is called his cultural atom.
Every individual, just as he has a set of friends and a set of enemies, - a social atom – also has a
range of roles facing a range of counter-roles.
Psychodrama v. 1 p. 84
Psicodrama (Spanish) p. 130
Psicodrama p. 135

… The use here of the word “atom” can be justified if we consider a cultural atom as the smallest
functional unit within a cultural pattern. The adjective “cultural” can be justified when we consider
roles and relationships between roles as the most significant development within any specific culture
(regardless of what definition is given to culture by any school of thought).
Psychodrama v. 1 p. 345
Psicomúsica y Sociodrama p. 128, Horme
Psicodrama pp. 403-404

... The focal pattern of role-relations around an individual is called his cultural atom. We are here
coining a new term, “cultural atom”, since we know of no other which expressed this peculiar
phenomenon of role relationships. Obviously, the term is selected as an analogue to the term “social
atom”. The use of the word “atom” here can be justified if we consider a cultural atom as the smallest
functional unit within a cultural pattern. The adjective “cultural” can be justified when we consider
roles and relationships between roles as the most significant development within any specific culture.
The socio-atomic organization of a group cannot be separated from its cultural-atomic organization.
The social and cultural atoms are manifestations of the same social reality.
Who Shall Survive? p. 70
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 173

ATOM/SOCIAL
The social atom is the nucleus of all individuals toward whom a person is emotionally related or
who are related to him at the same time. It is the smallest nucleus of an emotionally toned inter-
personal pattern in the social universe. The social atom reaches as far as one’s tele reaches other
persons. It is therefore also called the tele range of an individual. It has an important operational
function in the formation of a society.
Psychodrama v. 1 p. 184 (footnote)
Psicodrama Espanhol p. 254 (footnote)
Psicodrama p. 239 (footnote)

47. Our social atoms and the changes which are registered in them are continuously interiorated as
well as exteriorated. In the course of sociometric interiorization the individual has all the individuals
of his social atom and the relations between them interiorated. He can “send” messages (choice and
rejections) out to them and can receive them without any external exchange taking place.
Who Shall Survive? pp. 713-714
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 pp. 205-206

...Viewing the detailed structure of a community we see the concrete position of every individual in
it, also, a nucleus of relations around every individual which is “thicker” around some individuals,
“thinner” around others. This nucleus of relations is the small social structure in a community, a
social atom.
Who Shall Survive? p. 52
Fundamentos de la Sociometria p. 62
Quem Sobreviverá? v. 1 p. 158

A social atom is thus composed of numerous tele structures; social atoms are again parts of still a
larger pattern, the sociometric networks which bind or separate large groups of individuals due to
their tele relationships. Sociometric networks are parts of a still larger unit, the sociometric
geography of a community. A community is again part of the largest configuration, the sociometric
totality of human society itself.
Who Shall Survive? p. 54
Fundamentos de la Sociometria p. 64
Quem Sobreviverá? v. 1 p. 160

... Perhaps a mind not distracted by the gross facts in society will be able to discover the smallest
living social unit, itself not further divisible, the social atom.
 Who Shall Survive? p. 291
Fundamentos de la Sociometria p. 204
Quem Sobreviverá? v. 2 p. 159

... A person needs a number of other persons to accomplish his ends and the other persons need him
to help them accomplish theirs. The problem would have a simple solution, then, if all the persons
concerned mutually reciprocated.
Who Shall Survive? p. 291
Fundamentos de la Sociometria p. 205
Quem Sobreviverá? v. 2 p. 160

...The central social atom appears surrounded with planetary social configurations but each of
these planetary social atoms themselves are like the central suns, each surrounded with numerous
planetary social atoms, and so forth, ad infinitum.
Who Shall Survive? p. 295
Fundamentos de la Sociometria p. 207-208
Quem Sobreviverá? v. 2 p. 162

... It is as if a director of a great theater has evolved a succession of most colorful and attractive
settings and scenes, masks of heroes and dialogues of eternity to distract our minds from the facts
beneath. Similarly, on the stage of the social universe, millions of kinds and varieties of collectives,
families, schools, factories, churches, nations, are spread before our eye in most fascinating patterns;
we are ourselves actors on this stage and as if by blind necessity, we ceaselessly and indeterminately
continue to bring forth ever new collectives to resign as others fade. Because we are ourselves
enmeshed in this network it has been so hard to break the door to the actual world beneath, to
recognize the human universe in all its forms as a summation, interpenetration and dynamic
multiplication of social atoms.
Who Shall Survive? pp. 295-296
Fundamentos de la Sociometria p. 208
Quem Sobreviverá? v. 2 p. 163

... The total social atom of an individual is multi-criterial. However, it may well be that there are
individuals who are found, at certain points of time in their lifeline, to be unchosen in regard to all the
criteria in which they are involved.
Who Shall Survive? p. 433
Fundamentos de la Sociometria p. 287
Quem Sobreviverá? v. 2 p. 281

Social atom, operational definition: plot all the individuals a person chooses and those who
choose him, all the individuals a person rejects and those who reject him; all the individuals who do
not reciprocate either choices or rejections. This is the “raw” material of a person’s social atom.
Conceptual definition: the smallest unit of the sociometric matrix.
Who Shall Survive? p. 721
Fundamentos de la Sociometria p. não há
 Quem Sobreviverá? v. 3 p. 215

7. The hypothesis of the social atom states that a) an individual is tied to his social atom as closely
as to his body; b) as he moves from an old to a new community it changes its membership but its
constellation tends to be constant. Notwithstanding that it is a novel social structure into which he has
entered, the social atom has a tendency to repeat its former constellation; its concrete, individual
members have changed but the pattern persists.
Who Shall Survive? p. 705
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 196

8. Ratio of acquaintance volume to social atom volume.

a) The social atom volume of an individual increases in direct proportion to his acquaintance
volume.
b) The individual whose acquaintance volume and social atom volume are constantly identical
approximates an ideal sociometric status; for him no social contact is lost, each turn immediately into
a social reality.
Who shall survive? pp. 705-706
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 196

The social atom is that peculiar pattern of inter-personal relations which develops from the time of
human birth. It first contains mother and child. As times goes on, it adds from the persons who come
into child’s orbit such persons as are unpleasant or pleasant to him, and vice-versa, those to whom he
is unpleasant or pleasant.
J. L. Moreno, Psychodramatic Shock Therapy, A Sociometric Approach to the Problem of
Mental Disorders in “Group Psychotherapy and Psychodrama” v. xxvii, nº 1-4, 1974, p. 3
Psicoterapia de Grupo y Psicodrama p. 346
Psicoterapia de Grupo e Psicodrama p. 330

ATTENTION
(...) Immediately before the beginning of an actor or of a speech attention is divided into two
portions, one upon the outside, centering upon the external stimuli coming from the play partners, the
other to the preparatory initiation within himself, his own productivity.
Theatre of Spontaneity p. 67
El Teatro de la Espontaneidad p. 121
Teatro da Espontaneidade p. 83

AUDIENCE
The theatre for spontaneity brings to the poet-dramatist an old-new mission, the immediate contact
with the people.
... The new poet-dramatist is not left to his own self-isolated method of old, to choose ideas and
dialogues which he alone composes, condenses and finishes, but he synthesizes his inspirations in
front of the people and the desire to reach them and to be in accord with them will push him, at least
at times, to the production and presentation of ideas which he may have rejected if he would have
carried on his work in the splendid isolation of his cell.
Theatre of Spontaneity pp. 80-81
El Teatro de la Espontaneidad p. 143
Teatro da Espontaneidade p. 97

The fifth instrument is the audience. The audience itself has a double purpose. It may serve to help
the patient or, being itself helped by the subject on the stage the audience becomes the patient. In
helping the patient it is a sounding board of public opinion. Its responses and comments are as
extemporaneous as those of the patient, they may vary from laughter to violent protest. The more
isolated the patient is, for instance because his drama on the stage is shaped by delusions and
hallucinations, the more important becomes, to him, the presence of an audience which is willing to
accept and understanding him. When the audience is helped by the subject, thus becoming the patient
itself, the situation is reversed. The audience sees itself, that is, one of its collective syndromes
portrayed on the stage.
Psychodrama v. 1 p. c
Psicodrama Espanhol p. no há
Psicodrama p. 19

1) They were open, that is, problems which the audience members raised were presented on the
stage before them, personal and social conflicts which heretofore were hidden in a consultation office
were brought out into the open; and 2) spontaneous participation of the audience.
Who Shall Survive? p. xlii
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 47

AUDIENCE/AS THE PATIENT IN THE FILM

… The audience is really the patient for whom the film is made, and the benefit it derives from it is
the final test of the film’s usefulness.
Psychodrama v.1 p. 390
Psicomúsica y Sociodrama pp. 94-94, Horme
Psicodrama p. 451

AUDIENCE/HOMOGENEOUS GROUP
... The audience must be built at times homogeneously around certain mental syndromes, father-son
conflicts, suicide conflicts, and so forth.
Psychodrama v. 1 p. 391
Psicomúsica y Sociodrama p.201, Horme
Psicodrama p. 451

AUDIENCE/RELATIONSHIP DIRECTOR- AUDIENCE

It is the director himself or a special type of actor who establishes the contact of the stage with the
audience. Often he appears at the proscenium when a drama has reached a climax or crucial point,
and confers with them about the possible alternatives of solution which the conflict might have, asking
them which of the alternatives they themselves would like to see portrayed. At times he may ask them
whether they prefer a happy to a tragic solution, or whether they would prefer the play to end with the
conflict, without any solution.
Theatre of Spontaneity pp. 71-72
El Teatro de la Espontaneidad p. 129
Teatro da Espontaneidade p. 88

... Here it is important that the director, too, be able to see every spectator. This has two reasons;
the polarity is double. The psychodramatic director should see every member of the audience and thus
establish, if not more, at least an illusion of direct communication with them; and it is of equal
therapeutic value that every spectator be able to see the director. A skilful psychodramatic director
should always create an illusion of communication by letting his eyes pass over everyone in the
audience.
Psychodrama v. 1 p. 325
Psicodrama Espanhol p. no há
Psicodrama p. 383

AUTHORSHIP/MORENO
Because of the importance which my theory of interpersonal relations plays in the psychotherapy of
today, it is of interest to point out the first systematic presentation of “The Psychopathology of
Interpersonal Relations” in literature. It happened as recently as two decades ago and appeared in
Sociometry, a Journal of Interpersonal Relations, Volume I, and pages 7 to 76, 1937. It contained the
following terms and concepts now widely circulated: interpersonal therapy (p. 9), interpersonal
neurosis (p. 11), interpersonal relationship (between husband and wife or any other dynamic
involvement between people and not only between doctor and patient, p. 14), interpersonal balance
(p. 14), interpersonal catharsis (p. 22), interpersonal tensions and maladjustments (p. 26),
interpersonal conflict (p. 46), interpersonal process (p.46), interpersonal situation (p. 48),
interpersonal analysis (p. 52), interpersonal dynamics (p. 60), interpersonal crisis (p. 61),
interpersonal resistance (p. 63), interpersonal transference (p. 71), interpersonal assignment (p. 73),
interpersonal realities (p. 74), the participant observer of the social laboratory (p. 209), interpersonal
structure (p. 214), interpersonal resistance (p. 219).
Psychodrama v. 2 p. 235
Las Bases de la Psicoterapia pp. 373-374
Fundamentos do Psicodrama pp. 250-251

AUTO-TELE (SEE TELE/AUTOTELE)

AUXILIARY-EGO
AUXILIARY EGO/ALTER-EGO
The “double situation” in psychodrama is a clinical technique in which the client is interacting with
his double, portrayed by an alter (auxiliary) ego; it can also be used as an experimental design, it
provides an observer with an excellent opportunity for the study of the interweaving of empathy and
transference in the tele process. Certain facts stand out and have been identified by many observers.
A) There is the feeling in of the alter (auxiliary) ego into the subject. The alter ego (therapist or
counselor) is the active, empathizing agent; the patient, client or subject is the object.
Who Shall Survive? p. 319
Fundamentos de la Sociometria p. 215
Quem Sobreviverá? v. 2 p. 184

AUXILIARY-EGO/AUDIENCE EGOS
A term coined by Abraham L. Umansky, see “Psychodrama and the Audience”, Sociometry,
Volume VII, Nº 2, 1944.
Psychodrama v. 1 p. 387 (Footnote)
Psicomúsica y Sociodrama p. 195, Horme
Psicodrama p. 447 Rodapé

… The audience egos, or short the audio-egos, react to roles, to King Lear, Othello, Electra, or
Hamlet, and to an actual setting into which all these roles are interwoven.
Psychodrama v.1 p. 387-388
Psicomúsica y Sociodrama p.196, Horme
Psicodrama p. 448

AUXILIARY EGO/AUDIO-EGOS
... The tele-empathy-transference complex undergoes a third realignment of forces; it moves from
the stage to the audience, initiating among the audio-egos intensive relations.
Who Shall Survive? p. 86
Fundamentos de la Sociometria p. 79
Quem Sobreviverá? v. 1 p. 187

… The citizen is his home should feel that he is taking part in the session physically, he should feel
that his own representative, an audio ego, is acting in his behalf on the screen, on the stage as in the
audience. It produces not only the illusion of most intimate personal participation in the
psychodramatic session, but a form of audience catharsis similar to the audience’s experience in flesh
and blood sessions.
Psychodrama v. 1 p. 420
Psicomúsica y Sociodrama p. 246, Horme
Psicodrama p. 481

AUXILIARY-EGO/BEGINNING OF THE CONCEPT

... He was still the main agent in the process of healing. ... When the interrelationships involved in
a social neurosis became too large, he was compelled to make use of other therapeutic agents and to
remove himself from the scene to become an auxiliary ego at a distance.
Psychodrama v. 1 pp. 243-244
Psicodrama Espanhol p. 328
Psicodrama p. 300
 The director should work with the minimum expenditure of emotional energy. Once a production
has begun he should leave its development to the subject. When and where guidance is required he
should leave this to the auxiliary ego co-acting in the scenes. He should take advantage of the fact that
the auxiliary egos are extensions of his own self, permitting them to be subjectively involved but
keeping himself at a distance, objective and uninvolved. This has the advantage that he is left out of
transference and tele relations but he can watch and correct transference and tele relations which
develop between the subject and auxiliary egos on the stage in the course of action. Many a time we
have seen that the subject has fallen in love with or has become dependent upon the auxiliary egos
working with him. This phenomenon which often becomes fatal in the psychoanalytic situation can
easily be corrected in psychodramatic procedure because the chief engineer of therapy himself is
outside of the situation and can either change the role and tactics of the auxiliary ego towards the
subject or the auxiliary ego can be replaced by another therapeutic actor.
Psychodrama v. 1 pp. 257-258
Psicodrama Espanhol p. 344
Psicodrama p. 314

... There are four reasons why the auxiliary ego was introduced into psychodramatic therapy, one
was an economic reason. It was because the physical distance made it impossible to bring people
who live far away to the scene. Two, a sociological reason. The individuals who populate the
private world of the patient are prevented from participating by social obligations of their own.
Three, a psychological reason, it helped the therapist not to get involved to maintain his objectivity
and neutrality. The auxiliary ego removes the therapist from the obligation to play a part towards the
patient. The chief therapist can afford to be neutral and objective and it helps the patient to maintain a
reasonable psychological distance from him. Four, a therapeutic reason, it is often preferable not to
have the other real person present.
Psychodrama v. 2 pp. 231-232
Las Bases de la Psicoterapia p. 366
Fundamentos do Psicodrama p. 246

AUXILIARY-EGO/BEGINNING OF THE CONCEPT/RESCUE PLAYER

The director of spontaneous production must be able to act sub specie momenti. There are
individuals who are more or less talented for the job of director, but there are skills of directing
which can be learned. He has in the background a staff of reserve players whom he sends out to the
stage with a “saving idea” in dangerous situations. When the director gives a rescue signal the rescue
players as well as the players on the stage know that a crisis is imminent. ... The rescue player
remains upon the stage and takes part in the play until the critical phase has come to an end.
... But the disturbance in a scene may be so great that the director is forced to bring the play to a
rapid ending – and still make the play into an esthetic unity. Then he sends out a special type of rescue
player, the “end player.”
Theatre of Spontaneity p. 71
El Teatro de la Espontaneidad pp. 128-129
Teatro da Espontaneidade p. 88

AUXILIARY-EGO/CLIENT AS AN AUXILIARY-EGO
 ... A particularly effective relationship found in psychodramatic work is a reversal method, that is,
letting an auxiliary ego be the chief actor – the patient, the patient himself acting in a minor role, like
an auxiliary ego to himself.
Psychodrama v. 1 pp. 397-398
Psicomúsica y Sociodrama p. 213, Horme
Psicodrama p. 458

... The auxiliary egos are actors who represent absentee persons as they appear in the private
world of the patient. The best auxiliary egos are former patients, who have made at least a temporary
recovery and professional therapeutic egos who come from a sociocultural environment similar to the
patient’s. if there is a choice, “native” auxiliary egos are preferable to professional egos, however,
well trained the latter may be.
Psychodrama v. 1 p. xvii Introduction to 4th edition
Psicodrama Espanhol p. no há
Psicodrama p. 42 Introdução à 4ª Edição

AUXILIARY-EGO/CONCEPT
... “The tangible aspects of what is known as ‘ego’ are the roles in which he operates...
Psychodrama v. 1 p. 161
Psicodrama Espanhol p. 222
Psicodrama p. 214
SAME IN
Who Shall Survive? p. 75
Fundamentos de la Sociometria p. 69
Quem Sobreviverá? v. 1 p. 178

... We have called an extension of one’s ego, which is necessary for his adequate living
performance and which has to be provided for him by a substitute person, an auxiliary ego.
Psychodrama v. 1 p. 59
Psicodrama Espanhol p. 99
Psicodrama p. 109

AUXILIARY EGO/CRITICISM AGAINST THE CLASSIC

PSYCHIATRIST
... The function of the psychiatrist once again had to be considered. First we had found him wanting
because of the rigid office situation and because of his rigid role of physician. To overcome this
handicap we developed the function of the auxiliary ego which we hoped would enlarge the scope
and increase the flexibility of his role.
Psychodrama v. 1 p. 242
Psicodrama Espanhol p. 326
Psicodrama p. 298

… Throughout all this we cherished the notion that the psychiatrist alone is the healer, that all the
therapeutic tele derives from him and nowhere else is so concentrated and effective. However,
sociometric studies revealed to me that a great deal of the therapeutic tele is distributed all over the
community and that the question was only to make it effective and to guide it into the proper channels.
… The chief psychiatrist had to be put out of action to be removed from the scene; he became an
auxiliary ego at a distance. His function reduced itself to deciding who might be the best therapeutic
agent to whom, and aid in the picking of these agents. … He had lost all the insignia of all-mightiness,
of personal magnetism, and status of counsel. The face-to-face physician had become a physician at
a distance. He adjusted his function to the dynamics of a tele world.
Psychodrama v. 1 pp. 242-243
Psicodrama Espanhol pp. 326-327
Psicodrama pp. 298-299

But the change of locus of therapy has other unpleasant consequences. It revolutionizes also the
agent of therapy. The agent of therapy has usually been a single person, a doctor, a healer. Faith in
him, rapport (Mesmer), transference (Freud) towards him, is usually considered as indispensable to
the patient-physician relation. But sociometric methods have radically changed this situation. In
particular group a subject may be used as an instrument to diagnose and as a therapeutic agent to treat
the other subjects. The doctor and healer as the final source of mental therapeutics has fallen.
Psychodrama v. 1 p. 316
Psicomúsica y Sociodrama p. 80, Horme
Psicodrama p. 375

AUXILIARY EGO/DEVELOPMENT/TRAINING
… The initial phase of co-experience and collaboration with the stronger ego, provides the child
with an incentive for independent action.
As the infant matures, although still within the matrix of identity or unified experience, the amount
of assistance which the auxiliary egos has to render to the infant becomes less and less, and the
amount of activity with which the infant participates becomes larger and larger; in other words, the
auxiliary ego (the mother) is an aide in shaping the infant’s own roles, permitting him gradually more
independence. This process of intercommunication between infant and mother is the nourishing matrix
of the first independent role taking of the infant.
Psychodrama v. 1 p. 63
Psicodrama Espanhol pp. 104-105
Psicodrama p. 114

The auxiliary ego needs training very different from that of the chief therapist. His function is
primarily that of a participant actor not of an observer or analyst. His neutrality would defeat the
purpose of therapy. He has to play the role required of him in the full sense of the word. He has to
learn how to play the game of the patient and still not be carried away by it. But if the role requires
him to get involved with the patient as it is in life itself, he should carry out the prescription. It should
also be remembered that in contrast to psychoanalysis in the psychodramatic situation the therapist is
not alone with the patient. There are other individuals present; therefore, the neutrality and objectivity
of the therapist is better safeguarded.
Psychodrama v. 2 p. 232
 Las Bases de la Psicoterapia p. 367
Fundamentos do Psicodrama p. 246

AUXILIARY EGO/FUNCTIONS OF
… The functions of the auxiliary ego are threefold: the function of the actor, portraying roles
required by the patient’s world; the function of the therapeutic agent, guiding the subject; and the
function of the social investigator.
Psychodrama v. 1 p. c
Psicodrama Espanhol p. não há
Psicodrama p. 19

… The auxiliary ego has, in the psychodramatic situation, two functions – that of portraying roles
and that of guidance. The first function is that of portraying a role of a person required by the subject;
the second function is that of guiding the subject by warming up to his anxieties, shortcomings, and
needs in order to guide him towards a better solution of his problems.
Psychodrama v. 1 p. 59
Psicodrama Espanhol p. 99
Psicodrama p. 109

… The auxiliary ego has in this form of therapy two functions; a) as an extension of the primary
ego: he is identified with him and represents him towards others; b) as a representative of the other
person, the absentee, until the two primary subjects themselves are ready to meet.
Psychodrama v. 1 p. 233
Psicodrama Espanhol p. 316
Psicodrama p. 289

… The function of the auxiliary ego is therefore to attain unity with a person, to absorb the patient’s
wishes and needs and to operate in his behalf without being able however, to become identical with
him.
Psychodrama v. 1 p. 240
Psicodrama Espanhol p. 324
Psicodrama p. 297

The function of the auxiliary ego has been found indispensable in the experimental setting of the
psychodrama as a concept for the understanding of the interpersonal process on the stage as well as a
tool for treatment.
Psychodrama v. 1 p. c Introduction to 4th edition
Espanhol p. no há
Psicodrama p. 19

... The auxiliary egos are not necessarily used in every session. They are just available if can
occasion arises. The director may choose not to use them and to prefer anonymous subjects from the
group.
Psychodrama v. 1 p. 361
 Psicomúsica y Sociodrama p. 154, Horme
Psicodrama p. 421

The fourth instrument is a staff of auxiliary egos. These auxiliary egos or therapeutic actors have a
double significance. They are extensions of the director, exploratory and therapeutic, but they also
extensions of the patient, portraying the actual or imagined personae of their life drama. The functions
of the auxiliary ego are threefold: the function of the actor, portraying roles required by the patient’s
world; the function of the therapeutic agent, guiding the subject; and the function of the social
investigator.
Psychodrama v. 1 p. c Introduction to 4th edition
Espanhol p. no há
Psicodrama p. 19

In order to overcome the grave errors which may arise in and from the investigator himself, we
resort to a sociometric approach which is especially adapted to the microscopic study of social
phenomena. The participant observer – in one particular form of this work – does not remain
“objective” or at a distance from the persons to be studied: he becomes their friend. He identifies
himself with their own situations; he becomes an extension of their own egos. In other words, the
“objective” participant becomes a “subjective” one. As a subjective participant he can enter
successively or simultaneously into the lives of several individuals, and then function as a medium of
equilibration between them. This is the first step.
If we consider the investigator who gives out questionnaires as being in a situation of maximum
formal objectivity then the investigator who identifies himself successively with every individual
participating in the situation approaches a maximum of subjectivity. A professional worker acting in
this fashion produces excellent therapeutic effects, but the method does not improve upon the intended
objectification of the investigator, himself.
Who Shall Survive? p. 108
Fundamentos de la Sociometria p. 98
Quem Sobreviverá? v. 1 p. 207

The crucial therapeutic agents are the auxiliary egos. They are assistants to the chief therapist, but
simultaneously they are closely related to the world of the patient. The auxiliary ego deliberately
assumes the role which the patient needs or wishes him to assume. The success of intervention
depends upon how well the auxiliary therapist is able to embody the person the patient desires to
encounter.
Psychodrama v. 2 p. 195
Las Bases de la Psicoterapia p. 315
Fundamentos do Psicodrama p. 212

AUXILIARY EGO/INVOLVEMENT
On portraying the role is expected that the ego will identify himself privately with the role to the
best of his ability, not only to act and pretend but to “be” it. The hypothesis here is that what certain
patients need, more than anything else, is to enter into contact with people who apparently have a
profound and warm feeling for him. … The warmer, more intimate, and genuine the contact is, the
greater are the advantages which the patient can derive from the psychodramatic episode. The all-out
involvement of the auxiliary ego is indicated for the patient who has been frustrated by the absence of
such maternal, paternal, or other constructive and socializing figures is his lifetime.
Psychodrama v. 1 p. xvii/xviii Introduction to 4th edition
Psicodrama Espanhol p. no há
Psicodrama p. 43

AUXILIARY EGO/MORENO CHOOSES THE EGOS

Moreno: Who are they? (Motions to two female auxiliary egos to come up on the stage, they get up
from the audience and come forward.)
Martin: My mother, there’s a sister of mine.
Moreno, J. L. “Fragments from the Psychodrama of a Dream”, in Jonathan Fox, The
Essential Moreno: New York, Springer Publicity Company, 1987, p. 118
Psicoterapia de Grupo y Psicodrama p. 325
Psicoterapia de Grupo e Psicodrama p. 307

AUXILIARY-EGO/MOTHER AND FATHER AS AUXILIARY-EGOS

... The mother is the ideal example of an instinctive auxiliary ego.
Psychodrama v. 1 p. 84
Psicodrama (Spanish) p. 130
Psicodrama p. 135

… From the point of view of the child, these helpers appear like extensions of his own body, as he
is too weak and immature to produce these actions by his own effort.
Psychodrama v. 1 p. 59
Psicodrama (Spanish) p. 99
Psicodrama p. 109

… Sociometric investigators have pointed out that the organic isolation of the embryo is continued
for a short period after birth until the emergence of the tele starts the first interpersonal structures. But
some infants perpetuate the pattern of organic isolation by social isolation.
Psychodrama v. 1 pp. 70-71
Psicodrama (Spanish) p. 113
Psicodrama p. 122

13. Every parent is a natural but untrained auxiliary ego. To be an effective auxiliary ego to one’s
own child every parent needs professional training. Auxiliary ego technique should be applied when
there is a clear indication for it. For instance, a parent complains that his child has the tendency to
throw stones at dogs and cats, or to hit them. The therapist must realize that the day may come when
he will throw stones at another child or a grown up.
Psychodrama v. 2 p. 156
Las Bases de la Psicoterapia p. 256
Fundamentos do Psicodrama pp. 172-173
AUXILIARY-EGO/NUMBER OF
… The technique demanded usually more than one therapeutic aid for the patient, such as aids to
start off the patient himself and representatives of the principal roles the situation and the patient
might require. Instead of one, numerous auxiliary egos were needed. Therefore it lead to this: the
original auxiliary ego, the psychiatrist, remained at a distance but surrounded himself with a staff of
auxiliary egos whom he co-coordinated and for whom he outlined the course and the aim of
psychodramatic treatment.
Psychodrama v. 1 p. 182
Espanhol p. 251
Psicodrama p. 236

AUXILIARY-EGO/PATIENT’S AUXILIARY EGO TECHNIQUE

Another method is to let the patient (A) step back into the group and start with another patient (B)
and then call patient A back to be an auxiliary ego in any episode to B, for instance acting as his
father, a policeman or a doctor. This is the “patient’s auxiliary ego technique”. A, who did not want
to present his own problems, may be willing to help another member of the group present his.
Psychodrama v. 1 p. viii-ix Introduction to 3rd edition
Psicodrama Espanhol p. no há
Psicodrama p. 32 Introdução à 3a Edição

AUXILIARY-EGO/PSYCHOSIS
The crucial therapeutic agents are the auxiliary egos. They are assistants to the chief therapist, but
simultaneously they are closely related to the world of the patient. The auxiliary ego deliberately
assumes the role which the patient needs or wishes him to assume. The success of intervention
depends upon how well the auxiliary therapist is able to embody the person the patient desires to
encounter.
Psychodrama v. 2 p. 195
Las Bases de la Psicoterapia p. 315
Fundamentos do Psicodrama p. 212

... The auxiliary ego attempts to make the patient’s hallucinations unnecessary, or to weaken their
impact by providing him with actual and tangible embodiments of an acceptable mother figure.
Psychodrama v. 2 p. 196
Las Bases de la Psicoterapia p. 316
Fundamentos do Psicodrama p. 213

... It is obvious that here the utmost caution has to be practiced to prevent excesses, or to prevent
the auxiliary ego from taking advantage of the patient in order to satisfy his own needs. A great
responsibility rests upon the ego.
Psychodrama v. 2 p. 197
Las Bases de la Psicoterapia p. 318
Fundamentos do Psicodrama p. 214

... A significant phenomenon took place during the stagings of the realization scenes. She became
dependent upon the auxiliary egos because they were the people who gave flesh to her Johns and
other delusionary experiences. They became like parts of herself. That is one of the genuine functions
of an auxiliary ego, to free a subject from that extreme form of isolation - hallucination.
Psychodrama v. 3 p. 188
Psicoterapia de Grupo y Psicodrama pp. 382-383
Psicoterapia de Grupo e Psicodrama p. 360

AUXILIARY-EGO/TRANSFERENCE/SCIENTIFIC OBJECTIVITY
The auxiliary ego brings to the function of the social investigator a quality which is impossible to
the investigator in the natural sciences. ... The bias of the auxiliary ego – his social and cultural
limitations – cannot be studied except in the light of his actual work.
Psychodrama v. 1 p. 260
Psicodrama Espanhol pp. 346-347
Psicodrama p. 316

The director should work with the minimum expenditure of emotional energy. Once a production
has begun he should leave its development to the subject. When and where guidance is required he
should leave this to the auxiliary ego co-acting in the scenes. He should take advantage of the fact that
the auxiliary egos are extensions of his own self, permitting them to be subjectively involved but
keeping himself at a distance, objective and uninvolved. This has the advantage that he is left out of
transference and tele relations but he can watch and correct transference and tele relations which
develop between the subject and auxiliary egos on the stage in the course of action. Many a time we
have seen that the subject has fallen in love with or has become dependent upon the auxiliary egos
working with him. This phenomenon which often becomes fatal in the psychoanalytic situation can
easily be corrected in psychodramatic procedure because the chief engineer of therapy himself is
outside of the situation and can either change the role and tactics of the auxiliary ego towards the
subject or the auxiliary ego can be replaced by another therapeutic actor.
Psychodrama v. 1 pp. 257-258
Psicodrama Espanhol p. 344
Psicodrama p. 314

… Therefore, the auxiliary ego must learn to detach himself as far as possible from everything in
his own collective life which might bias him toward one or another of the cultures portrayed.
Elaborate spontaneity training may be necessary before his own collective conflicts cease to affect
his function as an auxiliary in inter-cultural relations. However, the most careful preparation and
training of director and egos should not turn them into stereotyped role-takers. It should give them a
solid basis for undertaking a difficult social and cultural project. … Last but not least, they must be
able to subjectify rapidly the experiences of the actual informants. In order to do this it takes
vigilance and spontaneity.
Psychodrama v. 1 pp. 362-363
Psicomúsica y Sociodrama p. 156, Horme
Psicodrama p. 422

... The psychodramatic method has a technique which might have furthered the cause of
psychoanalysis, the technique of the auxiliary ego or auxiliary therapist. In the psychodramatic
situation the chief therapist or analyst, if you wish, has associate therapists, so called auxiliary egos,
on hand, who are permitted to enter into closer, more intimate relation with the patient. The
immediate target of transference then switches from the therapist himself to the auxiliary egos. ... The
auxiliary egos are like assistants in a surgical operation, an integral function in helping the patient to
present and solve his problem. They are, therefore, not only on the side of the chief therapist but even
more on the side of the patient; the danger of transference “love” is towards him, to an extent, at least,
milder or transformed because it is a part of psychodramatic technique to permit the feelings of love
and hate overtly to be expressed by the protagonist as well as by the auxiliary therapists. ... The
emotions between auxiliary egos and patients are not transference-produced, they approximate real
love and real hate.
Psychodrama v. 2 p. 96
Las Bases de la Psicoterapia pp. 162-164
Fundamentos do Psicodrama p. 112

Hypothesis V: The interpolation of auxiliary therapists tends to decrease transference tension

between chief therapist and patient and to increase the tele communications between them.
Psychodrama v. 2 p. 97
Las Bases de la Psicoterapia p. 165
Fundamentos do Psicodrama p. 113

AXIODRAMA
... The organism in the field becomes “the actor in situ”. Whole cultures can be “acted out”
piecemeal in the experimental settings of axiodrama and sociodrama, with protagonists as creators
and interpreters.
Who Shall Survive? p. 61
Fundamentos de la Sociometria p. 66
Quem Sobreviverá? v. 1 p. 165

Axiodrama deals with the activation of religious, ethical and cultural values in spontaneous-
dramatic form. The original “content” of psychodrama was axiological. Contrary to the statement in
current textbooks, I started with psychodrama from the top down. First it was axiodrama (1918),
second came sociodrama (1921); psychodrama and its application to mental disorders was the last
stage of the development.
Who Shall Survive? p. xxvi Preludes
Fundamentos de la Sociometria p. no há
Quem Sobreviverá? v. 1 p. 33 Prelúdios

It focuses on Ethics and general Values; it is a synthesis of axiological meanings with

Psychodrama; it attempts to dramatize the eternal verities, truth, justice, beauty, grace, piety,
perfection, eternity and peace.
Psychodrama v. 3 p. 268
Psicoterapia de Grupo y Psicodrama p. 129
Psicoterapia de Grupo e Psicodrama p. 114
B

BEACON
... The mental hospital which was built around the theatre was to give the most acutely ill
representatives of our culture the benefit of antidotes.
The format of the modern mental hospital tends towards the extroverted type. Elegant landscaping,
colorful rooms and shiny walls, authoritarian habits and discipline, orderliness, cleanliness and
meticulousness are the order. The benefits of this style of mental care notwithstanding, it has not been
able to give adequate expression to the patients’ needs. The psychodramatic sanitarium aspires
towards the introverted type; it creates for the patient’s anchorages modeled after their own
spontaneous aspirations, however confused.
Who Shall Survive? p. lxvii Preludes
Fundamentos de la Sociometria p. no há
Quem Sobreviverá? v. 1 p. 69 Prelúdios

BIOATRIC
... There is a higher form of “bioatric” and sociometric democracy in which the unborn, the
living and the dead are partners – instead of keeping the unborn and the dead out of partnership.
Who Shall Survive? p. 609
Fundamentos de la Sociometria p. 420
Quem Sobreviverá? v. 3 p. 178

BIRTH
… The moment of birth is the maximum degree of warming up to the spontaneous act of being born
into a new setting, to which he must make a rapid adjustment. It is not a trauma, but the end stage of an
act for which nine months of preparation were required.
Psychodrama v. 1 p. 54
Psicodrama (Spanish) p. 94
Psicodrama p. 105

... There is ample evidence that the spontaneity of the infant has “something to do” with his arrival
in this world. During pregnancy he warms up to the act of birth. The length of gestation is largely
determined by the genotype of the fetus and not by the dam of the carrying individual. The infant wants
to be born. Birth is a primary and creative process. It is positive before it is negative, it is healthy
before it is pathological, it is a victory before it is a trauma. Anxiety results from “loss” of
spontaneity.
Who Shall Survive? p. 42
Fundamentos de la Sociometria p. 56
 Quem Sobreviverá? v. 1 pp. 149-150

BIRTH CONTROL
In principle at least, there is an alternative to birth control which we should bring to our
consciousness as a categorical imperative even if it would never be realized: let everyone be born
and let us “share” with them what there is to be had. Let us rather reduce the length of life of the
existing populations in order to permit everyone who is conceived to be born.
Who Shall Survive? p. 608
Fundamentos de la Sociometria p. 419
Quem Sobreviverá? v. 3 p. 177

BIRTH CONTROL/CRITICISM AGAINST CATHOLIC POSITION

… In the sense of the imperative of unlimited birth even the Catholic position of rhythmic birth
control is unethical and in essence no different from all other forms of interference.
Who Shall Survive? p. 608
Fundamentos de la Sociometria p. 419
Quem Sobreviverá? v. 3 p. 177

BIRTH/PSYCHODRAMA
... Psychodrama was born on Fool’s Day, April 1, 1921, between 7:00 and 10:00 p.m.
The locus nascendi for the first official psychodramatic session was the “Komoedien Haus”, a
theatre for the drama in Vienna. ... When the curtain went up the stage was bare except for a red plush
armchair which had a gilded frame and a high back – like the throne of a king.
Psychodrama v. 1 p. 1
Psicodrama Espanhol p. 21
Psicodrama p. 49

When I was four and a half years old my parents lived in a house near the river Danube. They had
left the house on a Sunday to pay a visit, leaving me alone in the basement of the house with
neighbor’s children. … The children said: “Let’s play”. One child asked me: “What?” “I know”, I
said, “let’s play God and angels”. … The first inspiration may well have come from this personal
experience.
Psychodrama v. 1 pp. 2-3
Psicodrama Espanhol pp. 22-23
Psicodrama pp. 50-51

BODY
BODY/BODILY CONTACT
... “Bodily contact” is a basic form of communication. It is not, however, always indicated. In some
cases the intimacy and warmth of contact, especially bodily contact, may be contraindicated. There
are, for instance, some schizophrenic patients who resent being touched, embraced, or kissed. They
would prefer their auxiliary egos to portray symbolic and omnipotent roles.
Psychodrama v. 1 p. xviii Introduction to 3rd edition
Psicodrama Espanhol p. no há
Psicodrama p. 43

Physical contact and physical attack – from caressing and embracing, to pushing and hitting – is
permissible in psychodramatic therapy if it is of benefit to the patient.
Psychodrama v. 2 p. 197
Las Bases de la Psicoterapia p. 318
Fundamentos do Psicodrama p. 214

BODY/BODY LANGUAGE
... According to psychodramatic theory a considerable part of the psyche is not language-ridden, it
is not infiltrated by the ordinary, significant language symbols. Therefore, bodily contact with
subjects, if it can be established, touch caress, embrace, hand shake, sharing in silent activities,
eating, walking or other activities, are an important preliminary to psychodramatic work itself.
Who Shall Survive? pp. 86-87
Espanhol pp. 79-80
Quem Sobreviverá? v. 1 p. 187

BODY/BODY POSITION
18. Psychodramatic tests have confirmed the hypothesis that the body position of the subject in the
course of a testing or a therapeutic operation has a constant influence upon the feelings, thoughts and
interpersonal responses. As the scene changes the subject may sit on a chair, lie on a couch or in a
bed, stand up or move around; each position of the body stimulates a different therapeutic
relationship.
Who Shall Survive? p. 707
Espanhol no há
Quem Sobreviverá? v. 3 p. 198

BODY/PHYSICAL TRAINING/PLAYERS
The body of the player must be as free as possible, it must respond sensitively to every motive of
mind and imagination. It must have the power to perform as large a number of motions as possible,
and perform them easily and rapidly. These motions must, indeed, be spontaneous so that the player
may not fail in a crisis, it may well happen that an idea may occur to a player unaccompanied by any
hint of a suitable gesture, and if he is not resourceful the whole act may go to pieces. To eliminate this
danger, a) as large a supply of possible movements must be stored up in the body as the player can
acquire, so that these may called forth by the ideas as these occur, b) creating of responses
(“creatoflex”) must be learned.
Psychodrama v. 1 p. 44
Psicodrama Espanhol p. 78
Psicodrama pp. 93-94
BOOK
The book is the archetype of all cultural conserves – the cultural conserve par excellence.
Psychodrama v. 1 p. 107
Psicodrama Espanhol p. 157
Psicodrama p. 158

BOOK/THE WORDS OF THE FATHER

... The Words of the Father I wrote with red link on the walls of an Austrian castle. The publisher
had to send two secretaries to decipher and copy the sayings. WHO SHALL SURVIVE? I dictated
into a typewriter. ... I was literally playing two roles, the role of a religionist and the role of a
scientist. ... This requires an explanation: nature has given us a master model for creativity – the way
a woman conceives and carries a baby alone, up to delivery; as soon as the infant is born, other
individuals may step in to help.
Who Shall Survive? pp. xxxvii - xxxviii
Fundamentos de la Sociometria p. no há
Quem Sobreviverá? v. 1 pp. 42-43 Prelúdios

BOOK/WHO SHALL SURVIVE?

The meaning of the title of this book WHO SHALL SURVIVE? Is the survival of creativity, of
man’s universe? The survival of human existence is at stake, not only of the fit; * * fit and unfit are in
the same boat. These new enemies are common to all men, not only to one or another group; ... ...
These odd enemies are technical animals which can be divided into two classes, cultural conserves
and machines. The more popular word for them is robots.
Who Shall Survive? p. 600
Fundamentos de la Sociometria p. 411
Quem Sobreviverá? v. 3 p. 168

BREACH/REALITY & FANTASY

The infant begins to develop two emotional tracks in his universe. They may run independently,
never to meet again. The infant would live then in two dimensions at the same time, the one real, the
other unreal, without being disturbed by the division, or it may be that the two tracks, A and B, may
from time to time strive towards a reunion, a re-establishment of the original status. These strivings
may bring about collisions between the two tracks, produce blocking and bring the flow of
spontaneity to inertia. It is the latter which actually happens to human personality. As long as he lives,
he tries to merge the original breach and because he remains, in principle, unsuccessful, the human
personality, even in its most integrated examples, has a tragic touch of relative imperfection. There is
this continuous struggle within the individual trying to maintain a balance between these two different
routes into which his spontaneity attempts to flow. He is like a man who has two saving accounts and
deposits in one such things that he would not or cannot deposit in the other.
Psychodrama v. 1 pp. 72-73
Psicodrama Espanhol p. 115
Psicodrama p. 124
 Out of the breach between reality and fantasy, two new sets of roles emerge. As long as this breach
did not exist, all real and fantasy components were merged into one set of roles, psychosomatic roles.
… But from the division of the universe into real and fictitious phenomena gradually a social world
and a fantasy world emerge separated from the psychosomatic world in the matrix of identity. Forms
of role playing are now emerging which correlate the infant to persons, things, and goals in an actual
outside of himself, and to persons, objects and goals which he imagines are outside of him. They are
called respectively social roles [the parent] and psychodramatic roles [the god].
Psychodrama v. 1 p. 73
Psicodrama Espanhol p. 116
Psicodrama pp. 124-125

... The psychodramatic and social roles develop later, the domain of the psychodramatic roles
being far more extensive and dominating than the domain of social roles. After the breach between
fantasy and reality is established, the division between psychodramatic and social roles, which have
been up to point merged, begins gradually to become differentiated.
Psychodrama v. 1 p. 77
Psicodrama Espanhol p. 120
Psicodrama p. 129

BREASTFEEDING
As long as the baby was breast fed the mother could not separate herself from her own breast,
leave the baby, and do some work by herself. She had to stay in closet proximity to the baby,
providing him with food as well as with her person, her mothering, a stimulating and at times, an over
stimulating agent.
The replacement of an auxiliary ego, the mother, by an auxiliary object, the bottle, cannot be
without serious consequences – at least, in a period during which the emotional foundations of
learning are being built.
Psychodrama v. 1 p.70
Psicodrama Espanhol pp. 112-113
Psicodrama pp. 121-122

... Sociometric investigators have pointed out that the organic isolation of the embryo is continued
for a short period after birth until the emergence of the tele starts the first interpersonal structures. But
some infants perpetuate the pattern of organic isolation by social isolation. ... the question is whether
the auxiliary ego in the form of the mother has not had, since time immemorial, a deeper function to
fulfill than just to be the source of the infant’s food.
Psychodrama v. 1 pp. 70-71
Psicodrama Espanhol p. 113
Psicodrama p. 122 78
C

CARL JUNG
“Extroverted” and “introverted” are psychological concepts introduced by Carl Jung which are
widely used to connote specific individual reaction patterns. But extroverted and introverted group
organization are sociometric concepts and have no relation to introverted and extroverted as used in
the psychological sense.
Who Shall Survive? p. 246
Fundamentos de la Sociometria p. 181
Quem Sobreviverá? v. 2 p. 120

CATHARSIS
One of the important achievements of psychodramatic theory is the development of the idea of
catharsis. Breuer* and Freud** were ignorant of the psychotherapeutic implications of the drama
milieu to which Aristotle had referred in “De Poetic”. It remained for psychodrama to rediscover and
treat the idea of catharsis in its relation to psychotherapy.
Psychodrama v. 1 pp. 13-14
Psicodrama Espanhol p. 37
Psicodrama p. 63

The difference between abreaction and the psychodramatic process is one of quality and not of
quantity. Various abreactions come forth from the patient and the auxiliary egos as well as from the
audience, and these are integrated into the psychodramatic production. Psychodramatic production
consists of structure scenes, each scene of structured roles, and each role of structured interactions.
Psychodrama v. 1 pp. xi-xii
Psicoterapia de Grupo y Psicodrama p. 368
Psicoterapia de Grupo e Psicodrama p. 349

CATHARSIS/ACTION
… It is into the stream of action catharsis that all rivulets of partial catharsis flow.
Psychodrama v. 1 p. e
Psicodrama Espanhol p. no há
Psicodrama p. 20

CATHARSIS/ACTIVE & PASSIVE

… In other words, in the Greek situation the process of mental catharsis was conceived as being
localized in the spectator – a passive catharsis. In the religious situation the process of catharsis was
localized in the actor, his actual life becoming the stage. This was an active catharsis.
Psychodrama v. 1 p. xiv
 Psicoterapia de Grupo y Psicodrama p. 393
Psicoterapia de Grupo e Psicodrama p. 368

… In other words, in the Greek situation the process of mental catharsis was conceived as being
localized in the spectator – a passive catharsis. In the religious situation the process of catharsis was
localized in the actor, his actual life becoming the stage. This was an active catharsis. … These two
developments which heretofore have moved along independent paths have been brought to a synthesis
by the psychodramatic concept of catharsis. From the ancient Greeks we have retained the drama and
the stage, from the Hebrews we have accepted the catharsis of the actor. The spectator has become an
actor himself.
Psychodrama v. 1 p. xiv
Psicodrama Espanhol p. no há
Psicodrama p. 39

CATHARSIS/COLLECTIVE
… It was clear to all of us that even if we would have used some of the actual rioters in person on
the stage, the purpose of their enactments would not have been for the sake of exploring individual
situations and producing individual catharsis, but for the sake of exploring collective situations and
producing a collective catharsis.
Psychodrama v. 1 p. 360
Psicodrama Espanhol p. no há
Psicodrama p. 419

CATHARSIS/HISTORY
Catharsis, as a concept, was introduced by Aristotle. He used this term to express the peculiar
effect of the Greek drama upon his spectators. In his Poetics he maintains that drama tends to purify
the spectators by artistically exciting certain emotions which act as a kind of relief from their own
selfish passions.
Psychodrama v. 1 p. XIII
Psicodrama Espanhol p. no há
Psicodrama p. 38

There have been two avenues which led to the psychodramatic view of mental catharsis. The one
avenue led from the Greek drama to the conventional drama of today and which it went the universal
acceptance of the Aristotelian concept of catharsis. The other avenue led from the religions of he East
and the Near East. These religions held that a saint in order to become a savior, had to make an effort;
he had, first, to actualize and save himself.
Psychodrama v. 1 p. XIV
Psicodrama Espanhol p. no há
Psicodrama p. 39

It remains to clarify what kind of a process catharsis is, by what forces it is brought about, - its
causations, and what results it has, - its effects. Aristotle maintained that it purifies the mind of the
spectators by holding a mirror before them, how unfortunate was Oedipus, how miserable Cassandra,
and how mournful and destitute Electra. It arouses fear and pity in them, liberating them from the
temptation of falling into the abyss of madness and of perversion themselves. Aristotle has well
indicated one of the effects, but he has left unsaid by what force the process of purification is caused.
Freud would ascribed this effect to a psychological mechanism which he called unconscious
identification, which is closely akin to the Aristotelian interpretation – the spectator, by living through
the dramatic events, in identifying himself with the characters, finds at least temporary relief from his
deeper unconscious conflicts. But identification is in itself a symptom and not a cause. It is not the
primary process. Aristotle was handicapped in giving the causes leading up to catharsis, by the fact
that the tragedy was for him an irreducible fixed entity. He did not return step by step to its status
nascendi, the social and cultural sources out of which the form of the drama emerged. … In a
sociodramatic session hundreds of individuals bring their conflicts in status nascendi with them. …
The director is searching for a conflict which may stir up the group to the deepest possible catharsis,
and for actors to portray this conflict.
Psychodrama v. 1 pp. 363-364
Psicodrama Espanhol p. no há
Psicodrama p. 423

CATHARSIS/INTEGRATION
... When he can be the person he hallucinates, not only do they lose their power and magic spell
over him but he gains their power for himself. His own self has an opportunity to find and reorganize
itself, to put the elements together which may have been kept apart by insidious forces, to integrate
them and to attain a sense of power and of relief, a “catharsis of integration” (in difference from a
catharsis of abreaction).
Who Shall Survive? p. 85
Fundamentos de la Sociometria p. 78
Quem Sobreviverá? v. 1 p. 186

CATHARSIS/INTELLECTUAL AND ANALYTIC CATHARSIS

At times the tele relations reach far into the psychological networks of the community. Then all the
individuals involved have to be considered in the treatment (social and network catharsis). Creative
catharsis, intellectual and analytic catharsis, and social and network catharsis may each play a role in
the different stages of the Psychodramatic shock procedure.
J. L. Moreno, Psychodramatic Shock Therapy, A Sociometric Approach to the Problem of
Mental Disorders in “Group Psychotherapy and Psychodrama” v. xxvii, nº 1-4, 1974, p. 6.
Psicoterapia de Grupo y Psicodrama pp. 348-349
Psicoterapia de Grupo e Psicodrama p. 332

CATHARSIS/MENTAL
Now that we have described the five basic instruments required to run a psychodramatic session
we may ask ourselves: to what effect? We will limit ourselves here to the description of a single
phenomenon, mental catharsis (stems from the Greek, it means purging, purification).
Psychodrama v. 1 p. d
Psicodrama Espanhol p. no há
Psicodrama pp. 19-20
 … They would have recognized that in the psychodramatic situation the patient is the recipient of
the three basic forms of mental catharsis, the one in the author – the creator and patient of the private
drama – the other in the actor who lives it out, and the third one in the audience which co-experiences
the events.
Psychodrama v. 1 p. 17
Psicodrama Espanhol p. 41
Psicodrama p. 66

... The process which took place in and around Anna can be described as a mental catharsis
through reassignment to another group.
Who Shall Survive? p. 511
Fundamentos de la Sociometria p. 345
Quem Sobreviverá? v. 3 p. 73

... Mental catharsis is here defined as a process which accompanies every type of learning, not
only a finding of resolution from conflict, but also of realization of self, not only release and relief but
also equilibrium and peace. It is not a catharsis of abreaction but a catharsis of integration.
Who Shall Survive? p. 546
Fundamentos de la Sociometria p. 367
Quem Sobreviverá? v. 3 p. 112

CATHARSIS/PSYCHODRAMA & SOCIODRAMA

... The psychodramatic approach deals with personal problems principally and aims at personal
catharsis.13 in psychodramatic procedure a subject whether it is a Christian, a Communist, a Negro, a
Jew, a Jap, or a Nazi is treated as a specific person, with his private world. His collective situation
is considered only as far as it affects his personal situation. Therefore, he has to be himself the chief
actor in the treatment procedure. In sociodramatic procedure the subject is not a person, but a group.
Therefore it is not an individual Negro who is considered, but all Negroes, all Christians, all Jews,
are considered. ... The protagonist on the stage is not portraying dramatis personae, the creative
output of the mind of an individual playwright, but a collective experience.
Psychodrama v. 1 pp. 364-365
Psicodrama Espanhol p. no há
Psicodrama pp. 424-425

CATHARSIS/PSYCHODRAMATIC CATHARSIS
There have been two avenues which led to the psychodramatic view of mental catharsis. The one
avenue led from the Greek drama to the conventional drama of today and with it went the universal
acceptance of the Aristotelian concept of catharsis. The other avenue led from the religions of the
East and the Near East. These religions held that a saint, in order to become a savior, had to make an
effort; he had, first, to actualize and save himself. In other words, in the Greek situation the process of
mental catharsis was conceived as being localized in the spectator – a passive catharsis. In the
religious situation the process of catharsis was localized in the actor, his actual life becoming the
stage. This was an active catharsis. In the Greek concept the process of realization of a role took
place in an object, in a symbolic person on the stage. In the religious concept the process of
realization took place in the subject – the living person who was seeking the catharsis. One might say
that passive catharsis is here face to face with active catharsis; aesthetic catharsis with ethical
catharsis. These two developments which heretofore have moved along independent paths have been
brought to a synthesis by the psychodramatic concept of catharsis. From the ancient Greeks we have
retained the drama and the stage…
Psychodrama v. 1 p. xiv
Psicoterapia de Grupo y Psicodrama pp. 393-394
Psicoterapia de Grupo e Psicodrama p. 368

CATHARSIS/SOMATIC
The old idea of somatic catharsis has been revived by psychodramatic methods; they bring the
body back into action, consciously and systematically, as a center of training and retraining in regard
to all of its functions.
Psychodrama v. 1 p. 16
Psicodrama Espanhol p. 40
Psicodrama p. 65

CATHARSIS/SPONTANEITY
… I discovered the common principle producing catharsis to be: spontaneity.
Psychodrama v. 1 p. d
Psicodrama Espanhol p. no há
Psicodrama p. 20

CATHARSIS/TOTAL
There are a number of elements able to produce partial catharsis. But the synthetic integration of all
elements total catharsis can be obtained. ... Therefore my aim has been to define catharsis in such a
way that all forms of influence which have a demonstrable cathartic effect can be shown as positive
steps within a single process of operation.
Psychodrama v. 1 pp. 17-18
Psicodrama Espanhol pp. 41-42
Psicodrama pp. 66-67

CHILD (SEE INFANT)

CHOICES
Choices: choices are fundamental facts in all ongoing human relations, choices of people and
choices of things. It is immaterial whether the motivations are know to the chooser or not; they are
significant only as clues to his cultural and ethical index. It is immaterial whether they are inarticulate
or highly expressive, whether irrational or rational. They do not require any special justification as
long as they are spontaneous and true to the self of the chooser. They are facts of the first existential
order.
Who Shall Survive? p. 720
 Fundamentos de la Sociometria p. no há
Quem Sobreviverá? v. 3 p. 215

CHOICES/CHOICE OF THE THERAPIST

41. The choice of the therapist is frequently emphasized by psychoanalysis. The choice of
therapist in individual psychology has its counterpart in the choice of the participant members in
group psychotherapy. It is here, however, of far greater importance than in individual psychotherapy.
Who Shall Survive? p. 713
Fundamentos de la Sociometria p. no há
Quem Sobreviverá? v. 3 p. 204

CHOICES/GROUP MEMBERS
40. The outstanding single factor determining success or failure in group psychotherapy is the
spontaneous choice of members or the spontaneous affinity between them. They must hang together by
spontaneous affinities in order that one becomes a therapeutic agent of the other. It does not make any
difference whether these choices are mature decisions, the adequate result of sociometric procedure,
or unconsciously acquired by an experiment of nature. But would these affinities have existed
automatically as a matter of course, like we imagine that ants are chained together in an anthill, a
sociometry would not have been needed and come into existence.
Who Shall Survive? pp. 712-713
Fundamentos de la Sociometria p. no há
Quem Sobreviverá? v. 3 p. 204

CHOICES/INTENSITY OF CHOICE
Intensity of choice: this is measured by the amount of time actually spent with the individuals
chosen against the amount of time one wants to spend with them. (See “Time as a Quantitative Index
of Interpersonal Relations”, Bibliography)
Who Shall Survive? p. 720
Fundamentos de la Sociometria p. no há
Quem Sobreviverá? v. 3 p. 215

CHOICES/RECIPROCATED CHOICE
Reciprocated choice: choosing and being chosen on the same criterion, a pair.
Pair: choosing and being chosen on the same criterion, a reciprocated choice.
Triangle: three individuals choosing each other on the same criterion.
Chain: an open series of mutual choices on any criterion – A chooses B, B chooses A, B chooses
C, C chooses B, C chooses D, D chooses C, etc.
Star: an individual who receives the expected number or more than the expected number of choices
on the same criterion. [Note the difference between star and popular leader].
Who Shall Survive? p. 720
Fundamentos de la Sociometria p. no há
Quem Sobreviverá? v. 3 p. 214
CHOICE/SOCIOMETRIC CHOICE
23. Hypothesis of constancy of choice. The choice of individuals, although it is of the greatest
ethical importance that it be made by that individual (and not for him) is by no means “individual”.
The individual is rather, consciously or unconsciously, the passage way for important collective
values and aspirations. But as this passage way is not an automaton but a live, spontaneous agent,
whenever choice emerges there is a meeting between the collective and private forces of the
community. It appears that the seat of choice and decision is the cerebral cortex. Although the
physiological perspective has no direct bearing upon this research is still points out the importance of
“choice training”. As choice, decision and action are central elements in the sociometric method, the
development of these capacities is enhanced whenever a test is given or an experiment is undertaken
by the individuals.
Choices have a tendency to be constant, that is, to be repeated in distant points in time in
proportion to the freedom for spontaneity the individuals enjoy at the time of the test.
24. Hypothesis of social equilibrium, “sociostasis”. If the outgoing and incoming choices of a
group are approximately equal (1:1) its organization and the behavior of its members will tend
towards equilibrium. This rule indicates the direction which group behavior takes but it does not
suggest that 50 in and 50 out is the optimal distribution of social feeling in a group. In order to
determine this a structural analysis has to be made. The optimum may differ from criterion to criterion
and from group to group.
25. Hypothesis of social disorganization. If the majority of the choices go outside (centrifugal) of a
group, its organization will tend towards dissolution and the behavior of its members towards
irregularities. The trend towards dissolution of a group will increase in direct proportion to the
number of outgoing choices and will reach its maximum when all choices are directed towards
members of the outgroup and none to members of the ingroup.
26. Hypothesis of social “in-breeding”. If the majority of the choices go inside the group
(centripetal) its organization will tend towards infiltration because of overlapping of choice and the
behavior of its members towards mutual irritation; with an excess of ingroup choices, an
overwhelming majority of choices, an excess of ingroup rejections will be stimulated.
27. Hypothesis of sociodynamic decline, social entropy. The cooling off of the emotional
expansiveness of the members of a given community or the sociodynamic decline of interest in others
has reached its climax when the influx of any new members into the community does not arouse its
inhabitants to new choices: the collective spontaneity has reached its zero, its social entropy. Social
entropy reaches its maximum when choices and rejections are entirely extinct. Indifference alone
prevails. The group spontaneity has “withered away” and is replaced by an aggregation of
individuals entirely left to change.
28. Hypothesis of “ambivalence” of choice. When an individual chooses and rejects another
individual in the same test the causes may vary. a) Two or more criteria enter into their relationship
and mix up their feelings, for instance, A chooses B because he is sexually attracted to her, but he
rejects her because she is a Negro. Here a private and a collective criterion are in conflict and
produce an ambivalent choice. Another illustration is: A chooses B as a working partner but he
rejects him as a roommate; the ambivalence is explained if the two criteria are separated and two
different tests constructed. However, if a vague criterion is used, for instance, “Who is your best
friend here?” an ambivalent choice might result. In this manner sociometric analysis is able to resolve
so-called unconscious psychodynamics. b) If an individual is attracted to three individuals for the
same reason and with equal strength he may put them on the same preference level. He will then have
three first choices. But he has to decide upon one person whom he actually marries; that may produce
some degree of resentment against the one whom he does marry because he could not marry all the
three choices, at least in our culture and so ambivalence of feeling ensues. c) The ambivalence is at
times due to the mixing up for roles in a sociometric choice, for instance, she is attracted to him as a
provider, she rejects him as a lover, she is attracted to him as the father of her child, she rejects him
because he is the son of her mother-in-law and she rejects him because he is a half-Jew. We see here
that many factors enter into a “choice”; private and collective criteria, physical and axiological
criteria. But whatever the dynamic factors are which enter into choice-making, the fact that a specific
choice and decision is made by an individual indicates that the quantitative strength is, at least at the
time when the test is given, in favor of the particular individual chosen. d) The ambivalence may be
due to internal criteria, to the autotele structure in mental patients.
Who Shall Survive? pp. 707-710
Fundamentos de la Sociometria p. no há
Quem Sobreviverá? v. 3 pp. 199-201

34. If the members of a group which has reached a mature objectivity of sociometric
consciousness, respond freely as to their choice-rejection-indifference towards each other in
reference to all social criteria which are active in the community at the moment, the warm up will
lead them, by virtue of the dynamics of the situation in which they are involved, to deeper and more
inclusive concentrated and articulate revealing of their social situation by means of instruments which
are able to mobilize and expose more complicated expression. In other words, the true sociometric
test is the basic first step in the unfoldment of ongoing social processes and cannot be bypassed.
Who Shall Survive? p. 711
Fundamentos de la Sociometria p. no há
Quem Sobreviverá? v. 3 pp. 202-203

CLASSOID
... There are in addition large sociodynamic categories which are frequently mobilized in political
and revolutionary activities; they consist of the interpenetration of numerous socioids and represent
the sociometric counterpart of “social class” as bourgeoisie or proletariat; they can be defined as
sociometric structure of social classes or as “classoids”.
Who Shall Survive? p. 81
Fundamentos de la Sociometria p. 74
Quem Sobreviverá? v. 1 p. 183

COMMEDIA DELL’ARTE
In the strict sense of the spontaneous drama the actors of the Commedia dell’Arte were improvisers
and not spontaneous actors. … The actors at best varied the dialogue which they had to fit into the
situations made to order and which they were not permitted to change. Improvisation in the
Commedia dell’Arte had therefore a prescribed direction, but the spontaneous drama must be created
void of the premises which have been conditional to date, the types, or roles, the interaction, the
scenes and the dialogue.
Theatre of Spontaneity p. 79
 El Teatro de la Espontaneidad p. 141
Teatro da Espontaneidade p. 96

COMMUNICATION
COMMUNICATION/THE ACT OF COMMUNICATION
In the process of graduated training one of the most important technical problems is how to get the
subject started. ... The instructor, himself warmed up to that state and role, discloses to the subject the
role to be enacted by him. This procedure wherein the instructor transfers to the subject the role and
the possible form it may take is called the Act of Communication. The Act of Communication itself
has only the significance of providing a “starter”. The rest of the procedure remains the free
expression of the subject.
Psychodrama v. 1 p. 136
Psicodrama Espanhol p. 190
Psicodrama p. 188

COMMUNICATION/LARGE GROUP
COMMUNICATION/MASS-MIDIA
... Furthermore, it can reach large groups of people, and by using radio or television it can affect
millions of local groups and neighborhoods, in which inter-cultural conflicts and tensions are dormant
or in the initial phases of open warfare.
Who Shall Survive? p. 89
Fundamentos de la Sociometria p. 81
Quem Sobreviverá? v. 1 p. 189

... The significance of symbolic acquaintance and symbolic judgment is more far-reaching still
when it is related to an individual because he is a member of a collective. For instance, LS is
rejected because she is Jewish; 7 of the girls rejecting her had never made her acquaintance.
Who Shall Survive? pp. 332-333
Fundamentos de la Sociometria p. 224
Quem Sobreviverá? v. 2 p. 196

COMMUNICATION/SPONTANEOUS COMMUNICATION
Spontaneous Communication aims at the transfer of spontaneity states from one person to another.
Psychodrama v. 1 p. 136
Psicodrama Espanhol p. 189
Psicodrama p. 188

CONFLICT
... Social conflict and tension increases in direct proportion to the sociodynamic difference
between official society and sociometric matrix.
Who Shall Survive? p. 710
Fundamentos de la Sociometria p. no há
 Quem Sobreviverá? v. 3 p. 200

CONSCIOUS/UNCONSCIOUS
... Indeed, instead of confronting Cs (consciousness), Pcs and Ucs it would be more productive to
hypothecate a scale from Cs (highest level of consciousness) to Pcs and Ucs with many intermediary
stages down to the lowest level of unconsciousness.
Psychodrama v. 2 pp. 48-49
Las Bases de la Psicoterapia pp. 88-89
Fundamentos do Psicodrama p. 63

CONSERVE
“Conserve”, says Webster, “means to keep in a safe or sound state; to preserve it”. It is derived
from the Latin con servare, meaning to guard. I use the word “conserve” as a noun preceded by the
adjective “cultural”.
Psychodrama p. 123
Psicomúsica y Sociodrama p. 221, Horme
Psicodrama p. 464

It is obvious that the history of the cultural conserve within man’s own mental and social apparatus
– a history dating back thousands of years – is the greatest single barrier to the infiltration of the
spontaneity principle into the total pattern of present-day civilization.
Psychodrama v. 1 p. 404
Psicomúsica y Sociodrama pp. 223-224, Horme
Psicodrama p. 465

CONSERVE/CULTURAL/ENERGY
In spontaneity theory energy as an organized system of psychological forces is not entirely given
up. It reappears in the form of the cultural conserve. But instead of being the fountainhead, at the
beginning of every process such as libido, it is at the end of a process, an end product.
Psychodrama v. 1 p. 87
Psicodrama Espanhol p. 133
Psicodrama p. 137

CONSERVE/EUGENY
The eugenic dreamer and the technological dreamer have one idea in common: to substitute and
hasten the slow process of nature. Once the creative process is encapsulated in a book it is given; it
can be recapitulated eternally by everybody without the effort of creating anew. Once a machine for a
certain pattern of performance in invented a certain product can be turned out in infinite numbers
practically without the effort of man. Once that miraculous eugenic formula will be found a human
society will be given perfect and smooth at birth, like a book off the press.
Who Shall Survive? p. 598
Fundamentos de la Sociometria pp. 409-410
 Quem Sobreviverá? v. 3 p. 166

... Technology may be able to improve the comfort of mankind and eugenics the health of mankind,
but neither is able to decide what type of man can and should survive.
Who Shall Survive? p. 598
Fundamentos de la Sociometria p. 410
Quem Sobreviverá? v. 3 p. 166

CONSERVE/EXCESS
... An excess if the dramatic function may permit sterile cultural conserves and social stereotypes
to live on, prosper, and block the rise of original and creative efforts. On the other hand, an excess of
the creative function may appear in certain individuals and groups before the environment is
established in which the ideas and inventions are a fitting response.
Psychodrama v. 1 p. 101
Psicodrama Espanhol p. 149
Psicodrama p. 152

… Stereotyped psychic structures are ultimately built out of s units, replacing and reducing them.
Psychodrama v. 1 p. 102
Psicodrama Espanhol p. 150
Psicodrama p. 153

CONSERVE/POPULAR ROLES
The theatre for spontaneity is also exposed to the danger to which the Commedia dell’Arte fell
victim – to freeze into a series of plots with definite role-taking. We have noted such tendencies in
popular roles, as the judge, the fool, the king, and so forth. But the true form of an art of the moment is
the unrestrained spontaneous drama production.
Theatre of Spontaneity pp. 79-80
El Teatro de la Espontaneidad p. 141
Teatro da Espontaneidade p. 96

… At the beginning of national cultures, the cultural forms, dance, music, drama, religion, custom,
are improvised, created in the moment, but as the moments of inspiration pass man becomes more
fascinated by the contents which have remained from the by-gone created acts, by their careful
conservation and estimation of their value, than to continue creating. It seemed to man a higher stage
of culture to forsake the moment, its uncertainty and helplessness, and to struggle for contents, to
select and idolize them, thus laying ground for our type of civilization, the civilization of the
conserve.
Who Shall Survive? p. 553
Fundamentos de la Sociometria pp. 372-373
Quem Sobreviverá? v. 3 p. 119

CONSERVE/SPONTANEITY
Spontaneity and cultural conserves do not exist in pure form, one is a function, a parasite of the
other.
Psychodrama v. 1 p. 105
Psicodrama Espanhol p. 154
Psicodrama p. 156

… Spontaneity and the cultural conserve are tangible and observable phenomena in human
experience. They are interrelated concepts; one is a function of the other. Neither absolute spontaneity
nor absolute conserve can be achieved, but they have been found to be useful heuristic principles.
Psychodrama v. 1 p. 403
Psicomúsica y Sociodrama p. 221, Horme
Psicodrama p. 464

… The cultural conserve renders to the individual a service similar to that which it renders as a
historical category to culture at large – continuity of heritage – securing for him the preservation and
the continuity of his ego. This provision is of aid as long as the individual lives in a comparatively
still world; but what is he to do when the world around him is in a revolutionary change and when the
quality of change is becoming more and more a permanent characteristic of the world in which he
participates?
Psychodrama v. 1 p. 106
Psicodrama Espanhol p. 155
Psicodrama p. 157

… Thus, a “cultural conserve” is the matrix, technological or otherwise, into which a creative idea
is placed for preservation and repetition. Two forms of the cultural conserve are referred to in my
writings: the technological conserve, as books, motion pictures, robots, and the “human” conserve,
the conserve which uses the human organism for its vehicle.
Psychodrama v. 1 p. 123
Psicodrama Espanhol p. 175
Psicodrama p. 175

The book is the archetype of all cultural conserves – the cultural conserve par excellence.
Psychodrama v. 1 p. 107
Psicodrama Espanhol p. 157
Psicodrama p. 158

… The cultural conserve is thus a consoling and a reassuring category. … It must have appeared to
our ancestors much more useful and valuable to put all their energy into the development of cultural
conserves and not reply upon momentary improvisations in individual and social emergencies.
Cultural conserves served two purposes: they were of assistance in threatening situations and they
made secure the continuity of a cultural heritage.
Psychodrama v. 1 p. 108
Psicodrama Espanhol pp. 157-158
Psicodrama p. 159
 … But the more developed the cultural conserves became – the more widely they were distributed,
the greater their influence became. … the more rarely did the people feel the need for momentary
inspiration. Thus the spontaneous components of the cultural conserves, themselves, were weakened
at the core and the development of the cultural conserve – although it owed its very birth to the
operation of spontaneous processes – began to threaten and extinguish the spark which lay at its
origin.
Psychodrama v. 1 p. 108
Psicodrama Espanhol p. 158
Psicodrama p. 159

… The problem was to replace an outworn, antiquated system of values, the cultural conserve,
with a new system of values in better accord with the emergencies of our time – the
spontaneitycreativity complex.
Psychodrama v. 1 p. 108
Psicodrama Espanhol p. 158
Psicodrama p. 160

Man has created a world of things, cultural conserves, in order to produce for himself a semblance
of God.
Psychodrama v. 1 p. 113
Psicodrama Espanhol p. 164
Psicodrama p. 165

The struggle with the cultural conserves is profoundly characteristic of our particular culture; it
expresses itself in various forms of trying to escape from them. The effort from the conserved world
appears like an attempt to return to paradise lost, the “first” universe of man, which has been
substituted step-by-step and overlapped by the “second” universe in which we live as adults today. It
is probable that all cultural conserves are the final projections of the tremendous abstractions which
man’s conceptual mind developed in a struggle for a superior existence.
Psychodrama v. 1 pp. 295-296
Psicomúsica y Sociodrama p. 44, Horme
Psicodrama p. 352

COSMIC HUNGER
... This cosmic hunger manifests itself in a) “retrojection”, drawing and receiving from other
organisms signals, ideas or feelings, to add strength to the self (expansion) or to find identity with
himself (confirmation); or b) dread of all organisms with whom he cannot co-act and share existence;
psychodramatically speaking, with whom he cannot reverse roles. These dreads are provoked by his
desire to be transformed into them as his only definite assurance of having identity. The cosmic
hunger of the child strives towards “world” realization. Self realization is only a stage in-between.
Psychodrama v. 2 p. 154
Las Bases de la Psicoterapia p. 252
Fundamentos do Psicodrama p. 170
COSMIC MAN
Man has often been called the symbol-creating animal. For some, this condition has been
considered as the root of his psychopathology (Trigant Burrow). Others have considered it as his
greatest achievement (G. H. Mead and Korzybsky). Both positions are one-sided. The capacity to
transcend the here and now by means of symbols has to be replaced by the capacity to integrate the
most far-flung symbols into the most immediate here and now. We may distinguish, therefore, three
phases in the evolution of man (1) the here and now of the animal; (2) the symbol-creating animal
transcending the here and now, and (3) the symbolic creativity integrated into the concrete here and
now. This new man may be called the “cosmic man”. He is just as real as the animal and just as
symbolic as homo sapiens, but a synthesis of both.
Psychodrama v. 2 p. 225
Las Bases de la Psicoterapia pp. 357-358
Fundamentos do Psicodrama p. 239

Man has often been called the symbol-creating animal. For some, this condition has been
considered as the root of his psychopathology (Trigant Burrow). Others have considered it as his
greatest achievement (G. H. Mead and Korzybsky). Both positions are one-sided. The capacity to
transcend the here and now by means of symbols has to be replaced by the capacity to integrate the
most far-flung symbols into the most immediate here and now. We may distinguish, therefore, three
phases in the evolution of man, (1) the here and now of the animal; (2) the symbol-creating animal
transcending the here and now, and (3) the symbolic creativity integrated into the concrete here and
now. This new man many be called the “cosmic man”. He is just as real as the animal and just as
symbolic as homo sapiens, but a synthesis of both.
Psychodrama v. 2 p. 225
Las Bases de la psicoterapia pp. 357-358
Fundamentos do Psicodrama p. 239

COUCH
... Whatever unconscious material is delivered on the couch, group and action methods can elicit
more easily and, in addition, materials which the couch vehicle hinders in being delivered.
Psychodrama v. 2 pp. 3-4
Las Bases de la Psicoterapia p. 16
Fundamentos do Psicodrama p. 18

COUCH/RESEARCH
... In my desperation – it was in the early days of my psychiatric research – I put a group of five
patients through the following test: Each of the five was placed on a couch, encouraging a sort of a
group psychoanalysis. Each used the technique of free association and I waited patiently for some
lead for the unconscious content they may have in common. But the couch technique, each patient free
associating side by side, remained unrewarding.
Psychodrama v. 2 p. 56
 Las Bases de la Psicoterapia pp. 99-100
Fundamentos do Psicodrama p. 71

COUPLE PSYCHOTHERAPY
COUPLE PSYCHOTHERAPY/PATERNITY
... (for instance when I started to treat husband and wife, or any other two co-related persons in
separate sessions or simultaneously, this was anathema then; it was a psychoanalytic rule that each
should be treated by a different therapist).
Who Shall Survive? p. lx Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 62 Prelúdios

CREATIVE ACT
The first character of the creative act is its spontaneity, the second character is a feeling of
surprise, of the unexpected. The third character is its unreality which is bent upon changing the reality
within which it rises, something prior to and beyond the given reality is operating in a creative act.
Whereas a living act is an element in the casual-nexus of the life process of the real person, the
spontaneous-creative act makes it appear as if for one moment the casual-nexus has been broken or
eliminated.
(...) The fourth character of the creative act is that it means acting sui generis. During the process of
living we are far more acted upon than acting. It is the difference between a creature and a creator.
But these process determine not merely psychic conditions; they produce mimetic effects. Parallel
to the tendencies that lift certain process into consciousness are others that lead to their mimetic
embodiment. This is the fifth character of the creative act.
Theatre of Spontaneity pp. 42-43
El teatro de la Espontaneidad pp. 79-80
Teatro da Espontaneidade pp. 57-58
Same in
Psychodrama v. 1 p. 35
Psicodrama p. 68
Psicodrama pp. 84-85

CREATIVE ACT/PHILOSOPHY OF THE CREATOR

FIRST: it has to interpret and elaborate a philosophy of the creator as an anti-mechanical
corrective to our age.
SECOND: to state the already known Impromptu techniques, and to enlarge the knowledge
about them through collaboration with many experimental groups.
THIRD: to record creations accomplished with the aid of various Impromptu techniques on the
spur of the moment.
Psychodrama v. 1 p. 31
Psicodrama Espanhol p. 63
Psicodrama p. 80
CREATIVE ACT/REVOLUTION THROUGH
There is a way, simple and clear, in which man, not through destructiveness nor as a part of social
machinery, but as an individual and a creator, or as an association of creators can fight back. … This
strategy is the practice of the creative act, man as an instrument of creation changing his products
continuously.
Psychodrama v. 1 pp. 45-46
Psicodrama Espanhol pp. 80-81
Psicodrama p. 95

CREATIVE SEEDS
... The delivery of a spiritual product however, comes easier to one writing quietly at his writing
desk, to the other in the form of the loud monologue – to a third producing on a stage before a public.
What is decisive is only whether the spontaneous creative seeds have reached in him some degree of
maturity.
Theatre of Spontaneity p. 78
El Teatro de la Espontaneidad p. 138
Teatro da Espontaneidade p. 94

CREATIVITY
CREATIVITY/CHARACTERISTICS OF THE CREATIVE ACT.
The first character of the creative act is its spontaneity, the second character is a feeling of
surprise, of the unexpected. The third character is its unreality which is bent upon changing the reality
within it rises, something prior to and beyond the given reality is operating in a creative act. Whereas
a living act is an element in the casual-nexus of the life process of the real person, the spontaneous-
creative act makes it appear as if for one moment the casual-nexus has been broken or eliminated. …
The fourth character of the creative act is that it means acting sui generis. During the process of living
we are far more acted upon than acting. It is the difference between a creature and a creator.
But these processes determine not merely psychic conditions; they produce mimetic effects.
Parallel to the tendencies that lift certain processes into consciousness are others that lead to their
mimetic embodiment. This is the fifth character of the creative act.
Psychodrama v. 1 pp. 35-36
Psicodrama Espanhol pp. 68-69
Psicodrama pp. 84-85

… In this paper and in similar researches which we have published, spontaneity and creativity are
regarded as primary and positive phenomena and not as derivatives of libido or any other animal
drive.
Psychodrama v. 1 p. 49
Psicodrama Espanhol pp. 87-88
Psicodrama p. 99
 … It is possible to reconstruct the situation of creativity at a time prior to the conserves which
dominate our culture. The “preconserve man”, the man of the first universe, had no musical notations
with which he could project the musical experiences of his mind, no alphabetic notations with which
he could project his words and thoughts into writing. … He must have been guided by the warming-up
process inherent in his own organism, his master tool, isolated in space, unspecialized yet, but
working as a totality, projecting into facial expressions, sounds, movements, the vision of his mind.
Psychodrama v. 1 p. 295
Psicodrama Espanhol p. não há
Psicodrama pp. 351-352

CREATIVITY/PHILOSOPHY OF THE CREATIVE ACT

FIRST: it has to interpret and elaborate a philosophy of the creator as an anti-mechanical
corrective to our age.
SECOND: to state the already known Impromptu techniques, and to enlarge the knowledge
about them through collaboration with many experimental groups.
THIRD: to record creations accomplished with the aid of various Impromptu techniques on the
spur of the moment.
Psychodrama v. 1 p. 31
Psicodrama Espanhol p. 63
Psicodrama p. 80

CREATIVITY/SPONTANEITY (SEE ALSO SPONTANEITY

/CREATIVITY)
… In this paper and in similar researches which we have published, spontaneity and creativity are
regarded as primary and positive phenomena and not as derivatives of libido or any other animal
drive.
Psychodrama v. 1 p. 49
Psicodrama Espanhol pp. 87-88
Psicodrama p. 99

... Spontaneity and creativity are thus categories of a different order; creativity belongs to the
categories of substance – it is the arch substance – spontaneity to the categories of catalyzer – it
is the arch catalyzer.
Who Shall Survive? p. 40
Fundamentos de la Sociometria p. 54
Quem Sobreviverá? v. 1 p. 147

Spontaneity and creativity are not identical or similar processes. They are different categories,
although strategically linked. In the case of Man his s may be diametrically opposite to his c; an
individual may have a high degree of spontaneity but be entirely uncreative, a spontaneous idiot.
Another individual may have a high degree of creativity but be entirely without spontaneity, a creator
“without arms”.
Who Shall Survive? p. 39
 Fundamentos de la Sociometria p. 53
Quem Sobreviverá? v. 1 p. 147

CREATOFLEX
The body of the player must be as free as possible, it must respond sensitively to every motive of
mind and imagination. It must have the power to perform as large a number of motions as possible,
and perform them easily and rapidly. These motions must, indeed, be spontaneous so that the player
may not fail in a crisis, it may well happen that an idea may occur to a player unaccompanied by any
hint of a suitable gesture, and if he is not resourceful the whole act may go to pieces. To eliminate this
danger, a) as large a supply of possible movements must be stored up in the body as the player can
acquire, so that these may called forth by the ideas as these occur, b) creating of responses
(“creatoflex”) must be learned.
Psychodrama v. 1 p. 44
Psicodrama Espanhol p. 78
Psicodrama pp. 93-94

CREATOR ENVY
... This phenomenon might be called “creator envy”. Promethian individuals, the precursors of the
“public relations” men of our enlightened age, may have made their appearance frequently in the
course of history, the heroes of the people acting like antigenius and genius at the same time. ... there
were rival geniuses in conflict with one another, the fire was stolen in every generation and thus
gradually the scientific method developed.
Who Shall Survive? p. 25
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 135

... This involvement was deeply enforced by the key individuals linked to him and resulted in a
network composed of chain reactions; one could call this phenomenon sympathy with the pioneer or
“creator love”; 2) rejecting the pioneer, the protagonist, either directly or indirectly through the
individuals charged with negative tele and in disfavor with the protagonist. The psychodramatic
production revealed a profound hostility, being reinforced by one or two key individuals and rivals,
which resulted at times in a distorted perception of the pioneer and his work. A chain reaction
produced a social network of negation which might be called antipathy for the pioneer or “creator
envy”.
Who Shall Survive? pp. 26-27
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 pp. 136-137

The phenomenon of creator envy was not without its good social points. It helped to deliver the
scientific method.
Who Shall Survive? p. 31
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 140
CREATOR LOVE
... This involvement was deeply enforced by the key individuals linked to him and resulted in a
network composed of chain reactions; one could call this phenomenon sympathy with the pioneer or
“creator love”; 2) rejecting the pioneer, the protagonist, either directly or indirectly through the
individuals charged with negative tele and in disfavor with the protagonist. The psychodramatic
production revealed a profound hostility, being reinforced by one or two key individuals and rivals,
which resulted at times in a distorted perception of the pioneer and his work. A chain reaction
produced a social network of negation which might be called antipathy for the pioneer or “creator
envy”.
Who Shall Survive? p. 27
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 pp. 136-137

CREATURGY VERSUS DRAMATURGY

To derive a science from this, and to have laws governing it, is the object of “Dramaturgy.” On the
other hand, “Creaturgy” is not concerned with events that are contained in dramas nor with laws that
may be derived from them. It is concerned with the drama of creation itself.
While Dramaturgy follows after the drama, Creaturgy must function with it. One figure of the
personae dramatis after the other arises in the soul of the author and speaks.
Theatre of Spontaneity pp. 47-48
El Teatro de la Espontaneidad p. 88
Teatro da Espontaneidade pp. 62-63

... Our immediate concern is with the pure, creative theatre in which each event happens once and
never again.
Psychodrama v. 1 p. 40
Psicodrama Espanhol p. 74
Psicodrama p. 90

The matrix of the Impromptu Theatre is the soul of the author. Let us surrender ourselves to the
illusion that the figures of the drama there in process of production have become visible, audible and
tangible. In this ideal performance all conditions are met: the act of creation is contemporaneous with
the production; there is harmony of situation and word.
To derive a science from this, and to have laws governing it, is the object of “Dramaturgy”. On the
other hand, “Creaturgy” is not concerned with events that are contained in dramas nor with laws that
may be derived from them. It is concerned with the drama of creation itself.
While Dramaturgy follows after the drama, Creaturgy must function with it.
Psychodrama v. 1 p. 41
Psicodrama Espanhol p. 75
Psicodrama pp. 90-91
CRITERIA
CRITERIA/ACTION CRITERIA
... An action criteria involves a different situation. It prompts the subjects to a different warming up
process. ... An illustration of an action criterion in application is the sociometric planning of a new
settlement. The settlers come to a town meeting and they preparing to move into the new settlement.
Whom do you want there as a neighbor?” ... The people have an immediate goal to which they are
warmed up. The choices they make are very real things, they are not only wishes. ... Choices are then
decisions for action, not “reportings” of actions.
Who Shall Survive? p. 99
Fundamentos de la Sociometria p. 89
Quem Sobreviverá? v. 1 p. 199

CRITERIA/DIAGNOSTIC CRITERIA
Another consideration which may be useful would be to differentiate between diagnostic and
action criteria. An illustration of a diagnostic criterion is “Whom do you invite to have meals in your
house?” It is specific but it does not provide the subjects with the opportunity to get into immediate
action. ...in other words, the test provides only for information but not for action.
Who Shall Survive? p. 99
Fundamentos de la Sociometria p. 89
Quem Sobreviverá? v. 1 p. 199

CRITERIA/SOCIOMETRIC CRITERIA
39. A criterion which is significant in one culture may be relatively insignificant in another or
entirely non-existent.
Who Shall Survive? p. 712
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 204

Sociometric criteria are in microsociology what social norms and standards are in
macrosociology. ... What gives every sociometricaly defined group its momentum is the
“criterion”, the common motive which draws individuals together spontaneously, for a certain
end. ...They give to the overt and tangible human society a deeply unconscious and complicated
“infra” structure. It is difficult to uncover the latter because of its remoteness from immediate
experience and because there is no strict separation between the infra and the overt structures. One is
interwoven with the other.
... Sociometrists have been particularly interested in groups which are built around strong criteria;
formal and institutional groups were the first and the most rewarding targets, home groups, work
groups, school groups, cultural groups.
Who Shall Survive? pp. 96-97
Fundamentos de la Sociometria pp. 87-88
Quem Sobreviverá? v. 1 p. 197
 We started with the simplest possible social value clusters which we called “sociometric criteria”,
microscopic norms. An illustration is “living in proximity”, in the same room, the same cabin, the
same house. ... These criteria are so universally constructed that they can be applied to groups of any
culture, sex, race or age, whether the household is a Christian family, a harem, a family of the Jibaro
Indian Tribe,... ...Other criteria were “working in proximity” and “visiting each other”. Such criteria
as these three we found in all communities surveyed. Then there are criteria which are found in some
communities but not in others, as going hunting, fishing, boating, ... ...The number of criteria increases
with the complexity of the society in which they emerge.
Who Shall Survive? p. 98
Fundamentos de la Sociometria p. 88
Quem Sobreviverá? v. 1 p. 198

... All criteria have this in common: that the respondents have some actual experience in reference
to them, whether ex post facto or present; in sociometric language, they are still “warmed up” to them
otherwise the questions would not arouse any significant response.
Who Shall Survive? pp. 98-99
Fundamentos de la Sociometria p. 89
Quem Sobreviverá? v. 1 p. 199

CRITICISM
CRITICISM/ADLER
... Adler’s system* started with another calamity, the inferiority of organs and the feelings of
inferiority. Rank started with a different calamity again, with the trauma of birth. All therapeutic
prescriptions in these three systems were made to overcome the initial calamity which the human
actor encounters.
Who Shall Survive? p. lii Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 56 Prelúdios

CRITICISM/BERGSON
Bergson, by making the élan vital a fetish, developed the other extreme. The total denial of
determinism is just as sterile as its full acceptance. Whereas Freud’s psychic determinism did not
leave any room for the s factor, Bergson left, so to speak, so much room to the creative that everything
outside of it became a demonic distortion. … whereas Bergson made his élan vital so creative, one
instant being as creative as the other, that all instants resolved in an absolute durée of creativity, with
the result that a category of the moment could not developed a significance of its own.
Psychodrama v. 1 p. 103
Psicodrama Espanhol pp. 151-152
Psicodrama p. 154

Bergson came closer to the problem than any of the modern philosophers. He was sufficiently
sensitive to the dynamics of creativity to postulate time, itself, as being ceaseless change – as being
totally creative. In such a scheme there was no place, however, for the moment as a revolutionary
category since every particle of time – “duration”, as he called it – was creative in every one of its
instants, in any case.
Psychodrama v. 1 p. 106
Psicodrama Espanhol p. 156
Psicodrama p. 157

CRITICISM/BERGSON/NIETZSCHE
The lack of an adequate concept of the moment has spoiled any attempt at forming a theory of
creativity and spontaneity. This is shown in the confusion in the works of Nietzsche and Bergson, for
instance, whenever they had to deal with related problems.
The gods and heroes who became the basis for Nietzsche’s value-theory were like Beethoven,
Bach, Wagner and others, persons who lived in the service of the cultural conserve. Since their
achievements were “works, i.e., high-grade cultural conserves, these became the frame of reference
for Nietzsche’s valuations.
Psychodrama v. 1 p. 105
Psicodrama Espanhol p. 154
Psicodrama pp. 156-157

CRITICISM/EXISTENTIALISM
Just as Kierkegaard drew the picture of the prophet, Nietzsche postulated the superman, a goal
which he set for man to attain. Both were existential romanticists. They found representatives of their
ideal man in the “past”, Kierkegaard in Christ, Nietzsche in Zaratrustra. Nietzsche and Kierkegaard,
far from being prophets or supermen themselves, were frustrate individuals, but they set the
imagination of the next generations aflame.
Psychodrama v. 2 p. 210
Las Bases de la Psicoterapia pp. 334-335
Fundamentos do Psicodrama p. 224

The modern intellectual existentialism is everything but heroic. It has become commonplace. Its
chief concerns are the philosophical problems of existence, not existing and existence itself. Men like
Jaspers, Heidegger and Sartre are philosophers and psychologists; the heroic-socratic existentialism
of Kierkegaard has gradually turned into a kind of intellectual existentialism of the middle class. Its
exponents are intellectuals rather than doers; Jaspers is nearer to Dilthey and Freud than to
Kierkegaard. Heidegger is nearer to Hegel and Kant than to Socrates and Christ.
Psychodrama v. 2 p. 213
Las Bases de la Psicoterapia p. 339
Fundamentos do Psicodrama p. 227

CRITICISM/FEED BACK THEORY

... It is thoughtless to transfer terms describing sheer mechanical phenomena to spontaneous human
relations. To substitute warming up by feedback is an oversimplification; it may appeal to the
academicians as another “semantic withdrawal from reality”.
Who Shall Survive? p. 607
 Fundamentos de la Sociometria p. 418
Quem Sobreviverá? v. 2 p. 176

CRITICISM/FREUD
… “Well, Dr. Freud, I start where you leave off. You meet people in the artificial setting of your
office, I meet them on the street and in their home, in their natural surroundings. You analyze their
dreams. I try to give them the courage to dream again.
Psychodrama v. 1 pp. 5-6
Psicodrama Espanhol p. 27
Psicodrama p. 54

4) It appears that Freud did not make clear, either to himself or to his patients, the full significance
of the couch technique in the psychoanalytic situation. He has left things unconscious which he might
better have made conscious, and tried to make such things conscious which may have better
remained unconscious.
Psychodrama v. 2 p. 102
Las bases de la Psicoterapia pp. 173-174
Fundamentos do Psicodrama p. 119

... Freud was a great scientist but a poor poet.

Who Shall Survive? p. lv Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 58 Prelúdios

CRITICISM/FREUD/PSYCHOANALYSIS/EDUCATIONAL
PSYCHOANALYSIS
... That educational psychoanalysis produces a basic change in the personality of the therapist
cannot be taken seriously. Irrational trends in his behavior continue. It provides him at best with a
method of therapeutic skill. According to this we could just as well call the physician’s response
transference and the patient’s response counter-transference. It is obvious that both the therapist and
the patient may enter the treatment situation with some irrational fantasies.
Psychodrama v. 2 p. 5
Las bases de la psicoterapia p. 19
Fundamentos do Psicodrama p. 19

CRITICISM/FREUD/PSYCHOANALYSIS/PLAY THERAPY
It should be remembered that they were the greatest barrier to the application of the play
principle to therapy in the crucial decade from 1914 to 1924. Remember also, in connection with
this, that Anna Freud and Melanie Klein published their work on play techniques many years later,
after I had established a receptive climate for them.
Who Shall Survive? p. xxviii Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 34 Prelúdios
CRITICISM/FREUD/PSYCHOANALYSIS/PSYCHOLOGY
... Freud has failed in two respects, first by the rejection of religion. ... Second, by his indifference
towards social movements as socialism and communism.
Psychodrama v. 1 p. 8
Psicodrama Espanhol pp. 29-30
Psicodrama p. 56-57

It is not quite accurate to say that psychoanalysis is a dialogue between two. It could be said with
more justification that it is a monologue, held in the presence of an interpreter.
Psychodrama v. 1 p.xiii Introduction to 3rd Edition
Psicodrama Espanhol p. não há
Psicodrama p. 37. Introdução à 3a Edição

... The psychoanalytic situation is a patient-physician relation, it is a form of verbal interview; the
real stuff of life, the situations and conflicts, when and as they occur, are kept out of it.
Psychodrama v. 1 p. 401
Psicomúsica y Sociodrama p. 218, Horme
Psicodrama p. 462

... Psychoanalysis tried to overcome its first crisis by renouncing hypnosis and Freud gives some
good logical argument for this change. Free association makes a more universal application of
analysis possible and it is an easier skill to learn, but, close inspection of the history of
psychoanalysis may show that the change was precipitated if not caused by a crisis which took place
in the “personal” field, the relationship between Doctor Breuer, Frau Breuer and one of his patients,
Miss Anna O., and between Doctor Breuer and Doctor Freud. ... It was “carried over” beyond the
therapeutic situation into life, producing the vicious chain which involved the four persons. The
patient lost her analyst (Breuer), Freud lost his friend and psychoanalysis lost its first leader. The
only who may have gained something was Frau Breuer: she gave birth to a baby.
Psychodrama v. 2 p. 93
Las Bases de la Psicoterapia pp. 158-159
Fundamentos do Psicodrama p. 109

Hypothesis I: the very format of the psychoanalytic situation induces the development of
transference and resistance neurosis, a) the physical conditioning, the couch and a doctor sitting
behind, b) the unreal relation between therapist and patient; the patient shares the same room with a
persistently non-interacting observer, c) the set relation of a superior versus a subordinate, d) the
horizontal position on the couch, not being able to get up, is associated in the mind of the patient with
sleep, dream and sex, with subordination, withdrawal from reality, and lovemaking.
Psychodrama v. 2 p. 92
Las Bases de la Psicoterapia p. 157
Fundamentos do Psicodrama p. 108

... He probably thought that keeping the patient uninvolved, apart from any complicated
interpersonal disturbances, as reclining on a couch, would make the process of analysis more
objective and scientific.
Psychodrama v. 2 p. 91
Las Bases de la Psicoterapia p. 156
Fundamentos do Psicodrama p. 108

... It is the error of psychoanalysis that it failed to understand the processes going on in artists as
specific phenomena of the creative ego – but derived its forms and materials more or less exclusively
from the sexual or biological history of his private person (complexes).
Psychodrama v. 1 p. 36
Psicodrama Espanhol p. 69
Psicodrama p. 85

Psychometric tests and psychoanalysis of the child and of the adolescent, however contrasting in
procedure, have one thing in common. They throw the subject into a passive state, the subject being a
role of submission. The situation is not motivated for him. This tends to produce an attitude of
suspicion and tension on the part of the subject towards the tester and to attribute to him ulterior
motives in inducing the subject to submit to the test. This situational fact has to be considered
irrelevant to how valuable and significant the revelations may be which come from psychometric
testing and from psychoanalysis. ... Through the sociometric, spontaneity and role playing tests the
artificial setting of the psychoanalytic situation and of the Binet intelligence tests can be substituted by
natural or life settings.
Who Shall Survive? pp. 105-106
Fundamentos de la Sociometria p. 95
Quem Sobreviverá? v. 1 p. 205

My critique is not directed against Freud the scientist, but against Freud, the metaphysician, the
system builder. Although he again and again assured his contemporaries that “psychoanalysis is not a
system”, the fact is that he has built one just the same and that his pupils have turned it into a bulwark
of strength and security in order to continue the identity of the movement.
Who Shall Survive? p. li Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 55 Prelúdios

CRITICISM/FREUD/PSYCHOANALYSIS/SEXUALITY
... But Freud, instead of associating sex with “spontaneity”, associated it with anxiety,
insecurity, abreaction, frustration and substitution. His system shows strong inclinations towards
the negative and for negation, a tendency which grew stronger in him with age. ... It was not the sexual
actor and his warm up towards orgasm, it was not sexual intercourse and the interaction of two in its
positive unfoldment, but rather the miscarriages of sex, its deviations and displacements, its
pathology rather than its normality, to which he gave his attention.
Who Shall Survive? p. lii Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 55 Prelúdios
 ... Freud looked at man from below; he saw man “upside down” and from the position from which
he looked at man he saw first his sexual organs and his rear.
Who Shall Survive? p. liii Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 56 Prelúdios

... Whereas the psychoanalytic system was stillborn to start with the psychoanalytic techniques
were vigorous and unsurpassed at the time they were made. What has happened since is that new
instruments, sociometry, psychodrama and group psychotherapy have opened up new areas of
research, which have made the Freudian method antiquated and the Freudian discoveries part of more
inclusive ones.
Who Shall Survive? p. liv Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 57 Prelúdios

... The libido lives on in the sociometric system as a subform of creativity. The unconscious lives
on as a by product of the warming up process. The psychoanalytic couch has become a piece of
furniture in the sociodynamic field of the psychodramatic stage. Free association is a limited and
often artificial adjunct of acting out; spontaneous acting out is a universal function of human behavior,
a sequel to the act-hunger of the infant; acting out, which appeared to Freud as a sign of resistance and
a phenomenon to be forbidden in the couch situation, has become one of the steeringwheels of
therapeutic interaction.
Who Shall Survive? p. liv Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v.1 p. 57 Prelúdios

... The conclusion is that the unconscious motivation behind the model is fear of the analyst of being
put in the position of acting out towards the patient and being acted upon by him. It is a safety device
against overt love and overt aggression. The difficulty is, of course, that by this life itself was banned
from the chamber, and the treatment process became a form of shadowboxing.
Who Shall Survive? p. liv Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 57 Prelúdios

... As he was blind to the true meaning of spontaneity and creativity, he did not see that libido
occupies but a small part and that the human and non-human universe is filled with ongoing
“prelibidinal” and “extralibidinal” creativity. The spontaneous-creative forces are more universal
and older than libido. It is a truism that the universe is maintained in part by systems of repetition and
organs of reproduction, but they are not always linked to sexual organs.
Who Shall Survive? p. lv Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 58 Prelúdios
CRITICISM/FREUD/PSYCHOLOGICAL DETERMINISM
Freud worked with two “containers”- conscious and unconscious. If he could not draw
determinants from the one he could draw them from the other source. But the principle of psychic
determinism can be carried too far when it is considered uninterrupted and absolute as Freud suggests
in his “Psychopathology of Everyday Life” from which the above quotations are taken. It becomes a
fetish. The desire to find determinants for every experience and for these determinants further
determinants farther back...
Psychodrama v. 1 p. 102
Psicodrama Espanhol p. 151
Psicodrama pp. 153-154

Hypothesis II: the motive for the change from the hypnotic technique to the free association
technique was its inferiority as a research method and Freud’s dread of acting out. He dreaded the
implications of the sexual and homicidal acting out inherent in the situation. It is amusing to think that
he who discovered the importance of sex in the development of the neuroses should be eventually
halted by the fear of its consequences. It is evident that Freud felt that the hypnotic technique was
unpleasant. The acting out of the patient during and after the session was more difficult to control and
besides, he did not like himself in the role of a hypnotizing actor.
Psychodrama v. 2 p. 93
Las Bases de la Psicoterapia. 159
Fundamentos do Psicodrama pp. 109-110

... The psychoanalytic vehicle was the couch. The antiquated couch was transformed into a multi-
dimensional stage, giving space and freedom for spontaneity, freedom for the body and for bodily
contact, freedom of movement, action and interaction. Free association was replaced by
psychodramatic production and audience participation, by action dynamics and dynamics of the
groups and masses. With these changes in the research and therapeutic operation the framework of
psychoanalytic concepts, sexuality, unconscious, transference, resistance and sublimation was
replaced by a new, psychodramatic and sociodynamic set of concepts, the spontaneity, the warming
up process, the tele, the interaction dynamics and the creativity. These three transformations in
vehicle, form and concept, however, transcended but did not eliminate the useful part of the
psychoanalytic contribution. The couch is still in the stage – which is like a multiple of couches of
many dimensions, vertical, horizontal and depth – sexuality is still in spontaneity, the unconscious is
still the warming up process, transference is still in the tele; there is one phenomenon, productivity-
creativity, for which psychoanalysis has given us no counterpart.
Who Shall Survive? pp. 119-120
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 217

The vehicle in which learning takes place symbolizes the kind of learning which is contemplated.
An illustration is the psychoanalytic couch. The patient has to lie down passively in a horizontal
position. If he wants to be in a more elevated position he has to stretch the legs of the couch and raise
the mattress. If he wants to be in a lower position he has to take the legs off and if he wants to move
from one position to the other he has to transform the couch into one with several layers. If he wants
to stand on his feet safely he needs a couch with a hard, perhaps wooden surface and if he wants to
move around freely, expansively and into all directions, he needs wide spaces, an extensive field of
action. When he is through with these manipulations a new vehicle has been born, the old couch has
changed into a theatre of spontaneity.
Who Shall Survive? pp. 543-544
Fundamentos de la Sociometria p. 365
Quem Sobreviverá? v. 3 p. 109

... Then it becomes evident that the frequencies of the sociologist are the surface expression of
deeper structural layers in the make-up of populations; that mass psychological findings, as, for
instance, the loss of individuality in mass actions, are an impressionistic description, the
comprehension of mass processes from a spectator’s point of view and not from that of the
participants; that projections of hysteria, neurosis, Oedipus complex, etc., from an individual to a
mass are undue generalizations and symbolizations.
Who Shall Survive? p. 314
Fundamentos de la Sociometria p. 211
Quem Sobreviverá? v. 2 p. 180

... But as no scientific study of the great American emancipator has been made during his lifetime
there was no justification for any attempt to analyze his personality from what is related about him by
laymen.
Who Shall Survive? p. xlv Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 49 Prelúdios

CRITICISM/FREUD/WILD PSYCHOANALYSIS 5
... But as no scientific study of the great American emancipator has been made during his lifetime
there was no justification for any attempt to analyze his personality from what is related about him by
laymen.
Who Shall Survive? p. xlv Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 49 Prelúdios

... But psychoanalysis claims that it has added the novel element of being able to penetrate the
intimate dynamics of a dead hero by using the phenomena of his recorded life as clues. It is obvious
that even in a strictly psychoanalytic sense the analysis of a dead person is symbolic rather than
actual. According to psychoanalytic tenets an actual analysis is not possible without display of
“transference” and “resistance” of the subject. Neither transference nor resistance can be expected
from a dead person.
Who Shall Survive? p. xlvi Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 50 Prelúdios
 ... Similarly, it would have been more interesting to find out why Freud picked on Moses and to
analyze Freud as to his own involvements in Moses rather than to follow Freud in his analysis of
Moses. It is from the analysis of the psychoanalyst in situ, when he is involved in the process of
analyzing someone else who is dead that one of the most important contributions of Psychodramatic
theory developed – the subjectification of the apparently objective investigator.
Who Shall Survive? p. xlvi Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 50-51 Prelúdios

CRITICISM/HERBERT G. MEAD
... For Herbert G. Mead the self- and a society of selves – are language ridden. Freud’s
exploratory outlook too, was language ridden. ... Both neglect the pre-semantic and a-semantic
development of the psyche and of the group.
Psychodrama v. 1 p. 157
Psicodrama Espanhol pp. 217-218
Psicodrama p. 210

CRITICISM/JUNG
... Jung does not apply the collective unconscious to the concrete collectivities in which people
live. There is nothing gained in turning from a personal to a collective unconscious if on the way of
doing this the anchorage to the concrete, whether individual or group, is diminished.
Psychodrama v. 2 p. 49
Las Bases de la Psicoterapia pp. 89-90
Fundamentos do Psicodrama pp. 63-64

CRITICISM/LEARNING SYSTEM
At present the pupil is usually treated like a frog whose cerebral cortex has been removed. He is
allowed to reproduce only roles which are conserved.
The reproductive process of learning must move into second place; first emphasis should be given
to the productive, spontaneous-creative process of learning. The exercises and training in spontaneity
is the chief subject of the school of the future.
Theatre of Spontaneity p. 81
El Teatro de la Espontaneidad p. 144
Teatro da Espontaneidade p. 97

... Many emotional disturbances in the growing personality are an immediate result or the
perplexities and incongruities of our educational system.
Psychodrama v. 1 p. 133
Psicodrama Espanhol p. 186
Psicodrama p. 185

This would appear to be the problem of all higher education, and it is here that our present systems
are lacking. By common consent we forget most of our school learning and even those who retain
facts in their memories seldom find those facts the solutions of the problems of the hour.
 Psychodrama v. 1 p. 143
Psicodrama Espanhol p. 198
Psicodrama p. 195

CRITICISM/MARX
Marx, by reducing his analysis of merchandise and production to the part which labor puts into it,
has left out, perhaps unconsciously, the deeper forces without which the labor process itself could not
be realized. The capitalist as well as the Marxistic view of the labor process are both derivatives and
functions of a more universal system of creative economics.
Who Shall Survive? p. 59
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 164

... Schemes like Marxism, and others, which have attempted worldwide reorganization of human
relationships, have been analyzed and the causes of their failure disclosed. Their failure seems to
have been due to a lack of knowledge of the structure of human society as it actually existed at the
time of the attempt. A partial knowledge was not sufficient; knowledge of the total structure was
necessary.
Who Shall Survive? p. 122
Fundamentos de la Sociometria pp. 103-104
Quem Sobreviverá? v. 1 pp. 218-219

A fifth line of thought was represented by economic planning based on an analysis of society as an
economicmaterialistic process (Marx). Economic planning was a real advance. But the tacit basis of
this planning was the collective, the collective of symbolic membership. It attempted to function in
disregard of the individual as a psychological energy and of society as a growing complex
continuously pressed by psychological currents and the networks they form. Or better said, it had so
little regard for the psychological factor that it thought to suppress or denaturalize without expecting
any particularly harmful consequences. As the planning progressed and began to manage the nature of
man and society according to the economic criterion curious disturbances appeared...
Who Shall Survive? p. 11
Fundamentos de la Sociometria p. 46
Quem Sobreviverá? v. 1 p. 123

CRITICISM/MONTESSORI
As our studies have proved, utter reliance on nature’s wise guidance without the invention of a
special technique of the moment to keep spontaneity permanent is without value. This mistake of
Rousseau’s has also misled his followers, Froebel, Montessori, and others, who influenced by
Rousseau’s doctrines, defended the child’s particular rights, and thought to foster and preach
spontaneity.
Psychodrama v. 1 p. 146
Psicodrama Espanhol p. 202
Psicodrama pp. 198-199
CRITICISM/MOTION PICTURES
7. The psychodramatic approach to motion pictures has been in the networks for several years, but
experiments like “Lady in the Dark” or “Now Voyager” are not adequate try-outs. To the contrary,
they are abhorrent examples of a form of the drama neither fish nor flesh, neither entertainment nor
therapy, because they try to provide both.
Psychodrama v. 1 p. (footnote)
Psicomúsica y Sociodrama p. 204, Horme
Psicodrama p. 453 (nota de rodapé)

CRITICISM/RADIO
... Surveying the last twenty years of radio work, we can see the whole field being with few
exceptions practically controlled by the conserve.
Psychodrama v. 1 p. 404
Psicomúsica y Sociodrama p. 223, Horme
Psicodrama p. 465

CRITICISM/REGRESSIVE SCENE
... The acting out of regressive patterns offers certain advantages to the individual acting, they relax
the patient because they reduce his involvement with the complicated present situation to a minimum;
he can replace the expected response to the current situation by a simple one and so live with a low
amount of spontaneity. Resistance is a function of spontaneity, it is due to a decrease or loss of it.
Who Shall Survive? p. liv Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 57

CRITICISM/ROUSSEAU
The name of Rousseau is commonly attached to the change in educational theory during the last
century. His appeal to go back to nature has certainly been a stimulant towards a revaluation of the
human instincts, but notwithstanding this, his faith in nature’s guidance of the child developed to be
rather reactionary than progressive. If the human instincts are let loose in their “crude” spontaneity the
result of the processes will not be spontaneity, but its opposite, the finished, organized product. The
law of inertia will subdue nature’s spontaneous beginning and attempt to relieve her from continuous
efforts through the establishment and conservation of patterns.
Psychodrama v. 1 pp. 145-146
Psicodrama Espanhol pp. 201-202
Psicodrama p. 198

CRITICISM/THEORIES OF CHILD DEVELOPMENT

A theory of personality, for instance, is needed, especially a theory of child development, which is
in better accord with the dimensions of study in which an increasingly large number of child
psychologists, social psychologists, analysts, and therapists are engaged. They still carry on with
antiquated concepts which do not quite meet new situations. The theories of child development, as
evolved by behaviorism, the Gestalt School, and psychoanalysis have lost their magnetism in some
quarters, probably because they have lost their usefulness in empirical and experimental study.
Psychodrama v. 1 pp. 47-48
Psicodrama Espanhol p. 86
Psicodrama p. 98

The psychological study of the newborn has been pursued largely in two dimensions – the one
dimension is that of animal psychology, which studies the behavior of the young animal and compares
it with human infants. Illustrations are Pavlov’s experiments with dogs and the maze experiments with
rats.
The second dimension is the interpretation of the infant, largely in terms derived from the mental
syndromes of the neurotic adult. The best illustration is the psychoanalytic theory…
Psychodrama v. 1 p. 48
Psicodrama Espanhol pp. 86-87
Psicodrama pp. 98-99

CO-UNCONSCIOUS/CO-CONSCIOUS
... Co-conscious and co-unconscious states are by definition, such states which the partners have
experienced and produced jointly and which can, therefore be only jointly reproduced or reenacted.
A co-conscious or a co-unconscious state cannot be the property of one individual only.
Psychodrama v. 1 p. vii
Psicodrama Espanhol p. não há
Psicodrama pp. 30-31

CULTURE
The concept underlying this approach is the recognition that man is a roleplayer, that every
individual is characterized by a certain range of roles which dominate his behavior, and that every
culture is characterized by a certain set of roles which it imposes with a varying degree of success
upon its membership.
Who Shall Survive? p. 88
Fundamento de la Sociometria p. 81
Quem Sobreviverá? v. 1 p. 189

CURRENTS
CURRENTS/EMOTIONAL CURRENTS
The social organization of the total community has beneath its outer appearance another aspect.
Although separately housed, there are attractions and repulsions between white and colored girls
which gravely affect the social conduct in this community. The “emotional currents” radiating from
the white and colored girls, and vice versa, have to be ascertained in detail, their causes determined,
and their effects estimated.
Who Shall Survive? p. 220
Fundamento de la Sociometria p. 158
 Quem Sobreviverá? v. 2 p. 98

CURRENTS/PSYCHOLOGICAL CURRENTS
Psychological currents consist of feelings of one group towards another. The current is not
produced in each individual apart from the others of the group; it is not ready in everyone only to be
added together to result in a sum,... ... The contribution of each individual is unequal and the product
is not necessarily identical with the single contributions. One or two individuals may contribute more
towards determining what feeling directs the current than the rest.
Who shall survive? p. 436
Fundamento de la Sociometria pp. 288-289
Quem Sobreviverá? v. 2 p. 283

We can differentiate psychological currents (1) according to their causation into (a) sexual, (b)
racial, (c) social, (d) industrial, and (e) cultural currents; and (2) according to the principle of their
formation into (a) positive and negative currents, (b) spontaneous and counter currents, (c) primary
and secondary currents, (d) initial and terminal currents, and (e) main and side currents.
Who Shall Survive? p. 438
Fundamento de la Sociometria p. 290
Quem Sobreviverá? v. 2 p. 285

These psychological currents do not rest in individuals but run into space and there they do not run
entirely wildly but through channels and structures which are erected by men: families, schools,
factories, communities etc.
Who Shall Survive? p. 440
Fundamento de la Sociometria p. 291
Quem Sobreviverá? v. 2 p. 286
D

DAS DING AN SICH

DAS DING AUSSER SICH
But this illusion acted out by the people who have lived through it in reality, is the unchaining of
life – “das Ding ausser sich.”
Theatre of Spontaneity p. 92
El Teatro de la Espontaneidad p. 158
Teatro da Espontaneidade p. 108

DELUSION
It is probable than the material tapped by sociometric and action perception tests can give us
important clues as to the development of delusions and hallucinations in the mental patient. The
messages and signals which the patient “sends out” and “receives” can draw their inspirations from
the tele and action matrices which have developed since early childhood.
Who Shall Survive? p. 328
Fundamentos de la Sociometria p. 219
Quem Sobreviverá? v. 2 p. 192

... Delusions and hallucinations are given flesh-embodiment on the stage – and an equality of status
with normal sensory perceptions.
Psychodrama v. 2 p. 192
Psicodrama Espanhol p. 310
Fundamentos do Psicodrama p. 209

... Hallucinatory Psychodrama

The patient enacts the hallucinations and delusions he is at present experiencing. ... Auxiliary egos
are called to enact the various phenomena expressed by the patient, to involve him in interaction with
them, so as to put them to a reality test.
Psychodrama v. 3 p. 240
Psicodrama Espanhol p. 138
Psicoterapia de Grupo e Psicodrama p. 123

DEUS/EX-MÁQUINA 6
In the spontaneity theatre, the situation is different – at least, in part. The decisive factor is not as
much the total work, but the force of the individual scenic “atoms.” The performers cannot depend
upon a deus ex machina like a prompter to come to the rescue when they forget a word or a gesture in
their parts. Here they do not fill a pre-established measure, time, with words and gestures. They must
act in the moment – first in one moment and then in another.
Theatre of Spontaneity p. 53
El Teatro de la Espontaneidad p.97
Teatro da Espontaneidade p. 68

DEVELOPMENT/MENTAL GROWTH
… Psychodramatic forms of role playing as role reversal, role identification, double and mirror
playing, contribute to the mental growth of the individual.
Psychodrama v. 1 p. v Introduction to 3rd Edition
Psicodrama Espanhol p. não há
Psicodrama p. 28 Introdução à 3a Edição

DEVELOPMENT/STAGES
... The main lines of (child) development may be summarized as follows: a stage of organic
isolation (italics as in original) from birth on, a group of isolated individuals each fully self-
absorbed; a stage of horizontal (italics as original) differentiation of structure from about 20-28
weeks on, the babies begin to react toward each other, the factor of physical proximity and physical
distance making respectively for psychological proximity or psychological distance, the
‘acquaintance’ beginning with neighbors first, a horizontal differentiation of structure; a stage of
vertical differentiation of structure from about 40-42 weeks on, one or another infant commands
disproportionate attention shifting the distribution of emotion within the group from the horizontal to a
vertical differentiation of structure, the group which had been up to this point equally ‘leveled’,
develops more prominent and less prominent members, a ‘top’ and a ‘bottom’.”
Psychodrama v. 1 pp. 80-81 Supplementary Notes
Psicodrama Espanhol p. 125
Psicodrama p. 132 Notas Suplementares

DIAGNOSIS
DIAGNOSIS AND TREATMENT
... But often diagnosis and treatment have to go hand in hand. A diagnostic clue is discerned on the
spot and immediately used for therapeutic aims.
Psychodrama v. 3 p. 58
Psicoterapia de Grupo y Psicodrama p. 279
Psicoterapia de Grupo e Psicodrama p. 265

DIALOGUE
The Dialogue as an aesthetic category has a counterpart in therapeusis in all forms of
Psychotherapy which are in the broadest sense of the world conversational. To this class belongs the
hypnotic seance, suggestion therapy, psychoanalysis and any type of treatment in which the physician
of healer is faced by one person only.
 Psychodrama v. 1 pp. 322-323
Psicomúsica y Sociodrama p. 90, Horme
Psicodrama pp. 380-381

DIRECTOR
DIRECTOR/ABSTINENCE
... The atmosphere of abstinence and of asceticism, of scientific and analytic objectivity from the
side of the chief therapist as required by the psychoanalytic rule is still maintained because the chief
therapist or analyst does not have to enter into the production itself except for certain indications. He
just watches and evaluates material coming forth.
Psychodrama v. 2 p. 96
Las Bases de la Psicoterapia pp. 163-164
Fundamentos do Psicodrama p. 112

DIRECTOR/ACTION
... It was seen that three major patterns of the director’s actions were scrutinized: (a) the
“interview-position”, that is, the position in which he opens a session and interviews a subject, (b)
and (c) the “observer-position” and the “spectator-position”.
Psychodrama v. 1 p. 253
Psicodrama Espanhol p. 339
Psicodrama pp. 309-310

DIRECTOR/DRAMATIC QUALITY
In contrast modern psychodrama is always new and fresh, unrepeated in every session. We have
shown that there are new ways and new goals. The great problem which has yet to be solved is to
bring the quality of the creation and the stability of the performances to a higher level. We have
definitely noted that in hundreds of places with every possible group of persons a meaningful
psychodrama can be created. But however worthwhile the therapeutic effects may be, the level of
production is frequently very low. How can we bring the level to a higher development? The question
of quality hangs together with this. The quality depends to the largest degree upon the choice of
director and auxiliary egos. They are not always of the same quality and seldom reach the highest
level of esthetics and therapeusis. The question remains: “How can we overcome these difficulties?”
The answer: through analysis of the production and by practice.
An overview of thousands of psychodramatic directors has yielded the following result: from
among the many practicing directors at best one percent has the quality, the spontaneity, the charisma,
the persistent energy to inspire a production which reaches the same level as Shakespeare or Ibsen.
Naturally, one cannot compare Psychodrama with the old form of theatre, they are totally different
processes in themselves. The task of the psychodramatic academy is, therefore, to discover of the
highest culture and to train them. Not all the directors whom we have trained are of the same quality.
We must therefore eliminate many persons in the course of selection for directorial training.
Just as there is a rank order among the directors, so there is a rank order among protagonists and
also among auxiliary egos. There are protagonists who have unheard of capacity for selfpresentation,
but then there are also protagonists of lesser talent. The same goes for auxiliary egos in their ability to
take the roles of others.
Theatre of Spontaneity p. Foreword to the second, enlarged edition e-f
El Teatro de la Espontaneidad pp. 20-21
Teatro da Espontaneidade pp. 13-14

DIRECTOR/FUNCTION
The psychodramatic director has three functions: (a) he is a producer, (b) chief therapist and (c)
social analyst.
As a producer he is an engineer of coordination and production. ... As a therapeutic agent, the last
responsibility for the therapeutic value of the total production rests upon his shoulders. ... The
psychodramatic director, in his function as a social investigator, is a sort of “super-auxiliary ego”.
Psychodrama v. 1 p. 252
Psicodrama Espanhol p. 338
Psicodrama p. 308-309

The third instrument is the director. He has three functions: producer, therapist and analyst. As
producer he has to be on the alert to turn every clue which the subject offers into dramatic action, to
make the line of production one with the life line of the subject, and never to let the production lose
rapport with the audience. As therapist attacking and shocking the subject is at times just as
permissible as laughing and joking with him; at times he may become indirect and passive and for all
practical purposes the session seems to be run by the patient. As analyst he may complement his own
interpretation by responses coming from informants in the audience, husband, parents, children,
friends or neighbors.
Psychodrama v. 1 p. c Introduction to 3rd Edition
Psicodrama Espanhol p. não há
Psicodrama p. 19 Introdução à 3a Edição

DIRECTOR/OBJECTIVITY
In classic psychodrama, similar to classic psychoanalysis, the chief therapist does not take part in
the production itself. He is like a conductor in an orchestra; he does not play an instrument himself,
but supervises, directs and observers. He keeps a certain distance from the patient.
Psychodrama v. 2 p. 231
Las Bases de la Psicoterapia p. 366
Fundamentos do Psicodrama p. 245

DIRECTOR/RELATIONSHIP WITH THE CLIENT

The fight between therapist and patient is in the psychodramatic situation extremely real; to an
extent they have to assess each other like two battlers, facing each other in a situation of great stress
and challenge. Each of them have to draw spontaneity and cunning from their resources so that
whatever amount of projected transference operates from patient towards the therapist is pushed into
the background or reduced to a small element. Positive factors, which are shaping the relationship
and interaction in the reality of life itself, take their place: spontaneity, productivity, the warming up
process, tele and role processes.
 J. L. Moreno, Hypnodrama and Psychodrama, in “Group Psychotherapy”, Beacon House,
nº1, April 1950, v.iii, p. 3
Psicoterapia de Grupo y Psicodrama p. 116
Psicoterapia de Grupo e Psicodrama p. 103

DIRECTOR/RELATHIONSHIP WITH THE SPECTATOR

... Here it is important that the director, too, be able to see every spectator. This has two reasons;
the polarity is double. The psychodramatic director should see every member of the audience and thus
establish, if not more, at least an illusion of director communication with them; and it is of equal
therapeutic value that every spectator be able to see the director. A skilful psychodramatic director
should always create an illusion of communication by letting his eyes pass over everyone in the
audience.
Psychodrama v. 1 p. 325
Psicomúsica y Sociodrama pp. 94-95, Horme
Psicodrama p. 383

DRAMA
DRAMA/CATEGORIES OF
An analysis of the dramatic literature of all ages, radio scripts and films would show a division in
several categories, the category of the entertaining drama, the category of the esthetic drama, and the
category of the social, (religious, moral, educational) drama. But one category would be missing – at
least in a pure form – the therapeutic drama. Psychotherapy as an exclusive aim of the drama has
never been attempted.
Psychodrama v. 1 p. 385
Psicomúsica y Sociodrama p. 191, Horme
Psicodrama p. 445

DRAMA/CATHARSIS
There is an argument which we must dispose of first, before elaborating on the idea of the
therapeutic drama. That is, that good drama is entertaining, beautiful and therapeutic at the same time;
if it is beautiful it must eo ipso, produce catharsis and what is fine and beautiful is always the best
entertainment.
Psychodrama v. 1 p. 385
Psicomúsica y Sociodrama p. 192, Horme
Psicodrama p. 446

DRAMA/DRAMATIS PERSONAE
If we imagine the author as apart from the types that came forth from him, the following process
may be observed. Each of these personae dramatis is his own creator, and the poet is he who
combines them into a unified whole. There you have the primary concept of the Impromptu
performance.
 Psychodrama v. 1 p. 41
Psicodrama Espanhol p. 75
Psicodrama p. 91

... Every Impromptu actor is, in fact, the creator of his dramatis persona, and the Impromptu
producer (alias the author) must synthesize the processes of each dramatis persona in a new whole.
Psychodrama v. 1 p. 41
Psicodrama Espanhol pp. 75-76
Psicodrama p. 91

... The patient has as dramatis personae either the real people of his private world, his wife, his
father, his child, etc., or actors portraying them, auxiliary egos.
Who Shall Survive? p. 83
Fundamentos de la Sociometria p. 76
Quem Sobreviverá? v. 1 pp. 184-185

DRAMA/HEALING
...The magnification of reality into a drama makes him free from reality. It is a process of cure
similar to the serum injection of smallpox, to check the full breakout of smallpox. The patient acts like
a dramatist who writes Hamlet to scare the latter away from him.
Theatre of Spontaneity p. 83
El Teatro de la Espontaneidad p. 147
Teatro da Espontaneidade p. 99

DRAMA/HISTORY
There are three forms of the drama to which an experiment based upon the philosophy of the
moment lends itself: the spontaneity theatre, as a dramatic art of the moment, the dramatized or living
newspaper, and the therapeutic theatre, * or the theatre of catharsis.
Theatre of Spontaneity p. 38
El Teatro de la Espontaneidad p. 71
Teatro da Espontaneidade p. 52

DRAMA/MEANING OF THE WORD

Drama is a transliteration of the Greek ... which means action, or a thing done. Psychodrama can be
defined, therefore, as the science which explores the “truth” by dramatic methods.
Psychodrama v. 1 p. a Introduction to 3rd Edition
Psicodrama Espanhol p. não há
Psicodrama p. 17 Introdução à 3a Edição

DRAMATIC QUALITY
In contrast, modern psychodrama is always new and fresh, unrepeated in every session. We have
shown that there are new ways and new goals. The great problem which has yet to be solved is to
bring the quality of the creation and the stability of the performances to a higher level. We have
definitely noted that in hundreds of places with every possible group of persons a meaningful
psychodrama can be created. But however worthwhile the therapeutic effects may be, the level of
production is frequently very low. How can we bring the level to a higher development? The question
of quality hangs together with this. The quality depends to the largest degree upon the choice of
director and auxiliary egos. They are not always of the same quality and seldom reach the highest
level of esthetics and therapeusis. The question remains: “How can we overcome these difficulties?”
The answer: through analysis of the production and by practice.
An overview of thousands of psychodramatic directors has yielded the following result: from
among the many practicing directors at best one percent has the quality, the spontaneity, the charisma,
the persistent energy to inspire a production which reaches the same level as Shakespeare or Ibsen.
Naturally, one cannot compare psychodrama with the old form of theatre, they are totally different
process in themselves. The task of the psychodramatic academy is therefore, to discover directors of
the highest culture and to train them. Not all the directors whom we have trained are of the same
quality. We must therefore eliminate many persons in the course of selection for directorial training.
Just as there is a rank order among the directors, so there is a rank order among protagonists and
also among auxiliary egos. There are protagonists who have an unheard of capacity for
selfpresentation, but there are also protagonists of lesser talent. The same goes for auxiliary egos in
their ability to take the roles of others.
Theatre of Spontaneity pp. e-f
El Teatro de la Espontaneidad pp. 19-20
Teatro da Espontaneidade pp. 13-14

... The first7 form under consideration is that of dramatic quality of response. It is that quality
which gives newness and vivacity to feelings, actions, and verbal utterances which are nothing but
repetitions of what an individual has experienced a thousand times before – that is, they do not
contain anything new, original, or creative. ... It makes disassociated automoton-like acts be felt and
look like true expression.
Psychodrama v. 1 pp. 89-90
Psicodrama Espanhol pp. 136-137
Psicodrama p. 140

DRAMATIST
The spontaneity theatre revolutionized the function of the dramatist. He is a part of the immediate
theatre. His subjective being is still controlled by the dramatic theme he wants to produce. He is not
yet freed from it since it is not yet finished. He experiences an inspired, individual struggle for
expression – the birthpangs of creativity – far more strongly than he experiences his “work of art”
itself. The dramatist is the all important and interesting phenomenon, as long as the work is unfinished
within his mind. His individuality may lose all its importance once it is finished, however. This may
explain why the sight of the dramatist when he appears on the legitimate stage at the end of the first
night of his play is almost invariably an anticlimax and sometimes provocative of humor at his
expense.
Theatre of Spontaneity p. 51
El Teatro de la Espontaneidad pp. 94-95
 Teatro da Espontaneidade p. 66

DRAMATIZATION
But this mad passion, this unfoldment of life in the domain of illusion does not work like a renewal
of suffering, rather it confirms the rule: every true second time is the liberation from the first.
Liberation is an exaggerated definition of what takes place because complete repetition of a process
makes its subject look foolish or ridiculous.
Psychodrama v. 1 p. 78
Psicodrama Espanhol p. 58
Psicodrama p. 28

DRAMATIZATION/FUNCTION OF
Second, is the period of retraining. The pupil undertakes the same acts as in the first stage, but the
objective properties are gradually removed. He eats imaginary steak, drinks from an imaginary glass
and puts on an imaginary coat. During this process the models of real life are so to speak in repair,
they are being remodeled by images. In this way manners are “repaired”, quick judgment is built,
social behavior acquired.
Psychodrama v. 1 p. 142
Psicodrama Espanhol p. 197
Psicodrama p. 195

DREAMS
... If this theory is correct... ... the infant does not dream during the first period. It has been pointed
out in our discussion on amnesia that the infant is unable to register or remember events, and this
inability is the greater the younger the infant is; that, in itself, would limit the possibility of dreaming
to such dreams as are provoked momentarily in the course of sleeping.
Psychodrama v.1 p. 68
Psicodrama Espanhol p. 110
Psicodrama p. 119-120

... In other words, the only type of infantile dream which can be theoretically visualized is the one
which is immediately provoked by a situation which stimulates or scares the infant on the spur of the
moment, without awakening it.
Psychodrama v. 1 p. 68
Psicodrama Espanhol p. 110
Psicodrama p. 120

... This would indicate that dreams, as we know them, cannot be produced in the period of all-
identity...
Psychodrama v. 1 p. 69
Psicodrama Espanhol p. 111
Psicodrama p. 120
 ... The dream does not reach endlessly into the past, but it has a beginning, an origin. It cannot
originate earlier than the period in which wake existence has a structure similar to the nocturnal
dream.
Psychodrama v. 1 pp. 69-70
Psicodrama Espanhol p. 112
Psicodrama p. 121

... It is not until the period of all-reality emerges that imageries appear in the wake life of the infant
which resembles the nocturnal dream structure.
Psychodrama v. 1 p. 70
Psicodrama Espanhol p. 112
Psicodrama p. 121

DURÉE
DURÉE/HENRY BERGSON
... To Henri Bergson, for one, goes the honor of having brought the principle of spontaneity into
philosophy (although he rarely used the word), at a time when the leading scientists were adamant
that there is no such thing in objective science. But his “données immediates”, his “élan vital” and
“durée” were metaphors for the one experience which permeated his life’s work – spontaneity – but
which he vainly tried to define. There is no “moment” in his system, only durée. “Duration is not one
instant replacing another … duration is a continuous progress of the past which gnaws into the future
… the piling up of the past upon the past goes on without relaxation.” Bergson’s universe cannot start
and cannot relax, it is a system in which there is no place for the moment. ... But without the moment
as locus nascendi, a theory of spontaneity and creativity threatens to remain entirely metaphysical or
to become entirely automatic.
Psychodrama v. 1 pp. 8-9
Psicodrama Espanhol pp. 30-31
Psicodrama pp. 57-58
E

EDUCATION AND PSYCHODRAMA

... Every public school, high school and college should have a psychodrama stage as a guidance
laboratory for their everyday problems. Many problems which cannot be adjusted in the classroom
itself can be presented and solved before the psychodramatic forum especially designed to such tasks.
Psychodrama v. 1 pp. 144-145
Psicodrama Espanhol p. 200
Psicodrama p. 197

The problem of a curriculum for play schools has to reconsider three elements. First: The age old
habit of surrounding the child with finished playthings or with play material for the making of toys
encourages in the child the conception of a mechanical universe of which he is the only uninhibited
ruler; the cruelty and the lack of sympathy that children often display towards living beings is due to
prolonged occupation with inanimate objects. Second: The curriculum must be partly enlarged by the
addition of all subjects which are offered to the public school and the high school student, only these
are to be presented and experienced on a correspondingly lower level. Third: Techniques of teaching
these subjects in accordance with spontaneity principles have to be invited.
Psychodrama v. 1 p. 146
Psicodrama Espanhol p. 202
Psicodrama p. 199

EMOTIONAL EXPANSIVENESS
4. The emotional expansiveness of communities can be measured by permitting its members
unrestrained exercise of choices, to the point where their spontaneity and tele become extinguished.
Who Shall Survive? p. 704
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 195

4. Emotional and social expansiveness develop with age.

Who Shall Survive? p. 699
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 189

... Not only the quality but perhaps also the quantity, the expansiveness of emotional interest has
been molded by the family group. A family being a group of few persons forces the growing child to
limit his attention to the development of few relationships, to parents and to siblings. His thirst to
expand is thus early cut and channeled; he gets used to being content with a small number of relations.
When grown up he feels that he cannot absorb more than a small number of relations. Indeed, the
quantum of his active acquaintances will rarely rise or fall above or below the average. ... He cannot
go beyond a certain limit, it seems, to keep a balance.
Who Shall Survive? p. 284
Fundamentos de la Sociometria p. 198
Quem Sobreviverá? v. 2 p. 153

Score of emotional expansiveness: the number of different persons whom, an individual chooses
or to whom he is attracted on any criterion.
Who Shall Survive? p. 720
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 214

... In the sociometric analysis of behavior it stands between the sociometric test and the spontaneity
test.
Who Shall Survive? p. 286
Fundamentos de la Sociometria p. 199
Quem Sobreviverá? v. 12 p. 155

EMOTIONAL EXPANSIVENESS/JEWS
... Jews may have developed, for sociodynamic reasons, a larger emotional expansiveness than
Germans. We should not conclude that this condition is characteristic for Jews per se because certain
levels of aspiration are forbidden to them, economically, professionally, socially, culturally. Another
sociometric finding has been that the emotional expansiveness of individuals grows with their
acquaintance volume and that the effect of differences in individual emotional expansiveness will be
multiplied proportionate to the growth of interaction between members of the two groups. The greater
the restrictions on making acquaintance with members of the majority group, the greater will become
the load of frustration upon the emotional expansiveness of the minority members and the tensions
between the two groups will increase in intensity.
Who Shall Survive? p. 560
Fundamentos de la Sociometria pp. 379-380
Quem Sobreviverá? v. 3 p. 127

EMOTIONAL EXPANSIVENESS/SOCIAL EXPANSIVENESS

The test of emotional expansiveness measures the emotional energy of an individual which
enables him to “hold” the affection of other individuals for a given period of time, in difference
from social expansiveness which is merely the number of individuals with whom he is in social
contact regardless of whether he is able to hold them or not.
Who Shall Survive? p. 285
Fundamentos de la Sociometria p. 199
Quem Sobreviverá? v. 2 p. 154

EMOTIONAL EXPANSIVENESS/SOCIOMETRIC TEST

 ... The emotional expansiveness is more directly related to behavior and action than the more
inclusive sociometric test. It does not matter here how many are chosen, but how many an individual
can hold and satisfy in his immediate needs. In the sociometric analysis of behavior it stands between
the sociometric test and the spontaneity test.
Who Shall Survive? p. 286
Fundamentos Sociometria p. 199
Quem Sobreviverá? v. 2 p. 154

EMOTIONAL EXPANSIVENESS/TESTING
The test of emotional expansiveness measures the emotional energy of an individual which
enables him to “hold” the affection of other individuals for a given period of time, in difference
from social expansiveness which is merely the number of individuals with whom he is in social
contact regardless of whether he is able to hold them or not.
Who Shall Survive? p. 285
Fundamentos de la Sociometria p. 199
Quem Sobreviverá? v. 2 p. 154

ENCOUNTER
1. The fundamental principle underlying all forms of psychotherapy is the encounter and not the
transference of psychoanalysis.
Psychodrama v. 2 p. 234
Las Bases de la Psicoterapia pp. 371-372
Fundamentos do Psicodrama p. 249

ENERGY
... According to sociometric theory there are two forms of energy, “conservable” and
“unconservable” energy. An illustration of conservable energy is the law of conservation of energy as
postulated by physics, or the “cultural conserve” as described by sociometry. An illustration of
unconservable energy is spontaneity.
Who Shall Survive? p. 696
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 185

The distribution of energy in social space takes place in accord with the law of social gravitation.
The sociometric formula of social gravitation is “People 1 (P1) and people 2 (P2) move towards
each other – between a locality X and a locality Y – in direct proportion to the amount of attraction
given (a1) or received (a2), in inverse proportion to the amount of repulsion given (r1) or received
(r2), the physical distance (d) between the two localities being constant, the facilities of
communication between X and Y being equal.
Who Shall Survive? p. 696
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 185
ENVY
ENVY/CREATOR ENVY (SEE IN CREATOR ENVY)

ENVY/GERMAN’S ENVY
... As the majority of the development groups are German, we can imagine feelings of resentment
arising among the German leader groups, together with the conviction that they have a more “natural
right” than the Jewish leaders to direct the German masses of workers and farmers.
Who Shall Survive? p. 563
Fundamentos de la Sociometria p. 382
Quem Sobreviverá? v. 3 p. 130

ETHICS
ETHICS OF GROUP PSYCHOTHERAPIST
Moreno, J. L.- “Code of Ethics of group Psychotherapist” in Group Psychotherapy, Beacon
House, v.x, nº 1, March 1957, pp. 143-144 (role article)
Psicoterapia de Grupo y Psicodrama pp. 105-107
Psicoterapia de Grupo e Psicodrama pp. 95-96

ETHICS/GROUP PSYCHOTHERAPY/HIPPOCRATIC OATH

8. The Hippocratic Oath binds the physician to keep all matters of his professional practice secret.
In group psychotherapy the Hippocratic Oath is extended to all patients and binds each with equal
strength not to reveal to outsiders the confidences of other patients entrusted to them .
Moreno, J. L. “Code of Ethics of Group Psychotherapist” in Group Psychotherapy, Beacon
House, v.x, nº 1, March 1957, pp. 143-144
Psicoterapia de Grupo y Psicodrama p. 19
Psicoterapia de Grupo e Psicodrama p. 18

ETHICS/GROUP PSYCHOTHERAPY/HERE AND NOW

... I discovered the spontaneous man again when I began to run role playing and psychodramatic
sessions. In the course of thousands of sessions I have run in the last four decades, whenever I
worked with groups, I felt that I must work within the here and now and that any rehash would not
only be unethical but also untruthful and finally, also untherapeutic.
Psychodrama v. 2 p. 137
Las bases de la Psicoterapia p. 227
Fundamentos do Psicodrama p. 154

EXTERNAL SOCIETY
... By external society I mean all tangible and visible groupings, large or small, formal or informal,
of which human society consists.
Who Shall Survive? p. 79
 Fundamentos de la Sociometria p. 72
Quem Sobreviverá? v. 1 p. 181

EXISTENTIALISM
EXISTENTIALISM/MORENO
The radical realism of phenomenologists like Husserl and Scheler gave rise to a new development
in existentialism which is particularly pronounced in the works of Jaspers, Heidegger, Sartre. The
new development reflects itself in their search for validation. Tacitly or overtly the emphasis has
shifted to the relation between existential and scientific validation. The original existentialism of
Kierkegaard has practically vanished from the scene except for some rancorous religious writers. The
reason may be in the growing vogue of agnosticism and atheism among them and the desire to
reconcile existentialist philosophies with scientific methods. I believe that I have shown beyond any
doubt that the existentialism of today, of which Kierkegaard is often called its founder, has lost its
original characteristics. It has little to do with Kierkegaard’s philosophy. But there is one
development in modern thought in which this dilemma of existentialism has been anticipated and
treated, in sociometry and particularly through its psychodramatic method.
Psychodrama v. 2 pp. 214-215
Las Bases de la Psicoterapia p. 341
Fundamentos do Psicodrama p. 229
F

FAMILY
But the true symbol of the therapeutic theatre is the private home.
Psychodrama v. 1 p. 26
Psicodrama Espanhol p. 55
Psicodrama p. 75

FAMILY
FAMILY/INTROVERTED ORGANIZATION
We could divide the members of a cottage in Hudson into two groups: those who want to stay (the
stayers) and those who want to move away (the movers). The proportion between these two groups
decided whether or not a cottage group had an introverted or an extroverted organization. We saw
then that groups with an introverted organization disclosed a stronger craving for difference and
distinction. This feeling of difference and distinction could easily turn into a current of aggression
against intruders from other cottages. This phenomenon appears to have universal application. ... In
every community there are stayers and movers. Communities with an introverted organization also
tend to produce restrictive and protective currents against intruders. Although the motivations for
these phenomena are complex, these restrictive and protective currents appeared to further social
differentiation and integration within communities. An intimate study of the population structure in a
local geographical area will probably demonstrate that the consanguine groups, the family trees, are
the strongest centers of introverted organization and that the craving for difference and distinction is
most strongly focussed in them.
Who Shall Survive? pp. 558-559
Fundamentos de la Sociometria p. 378
Quem Sobreviverá? v. 3 p. 125

FAMILY/FAMILY THERAPY/PSYCHODRAMA
... But when two persons live together and meet one another daily, then the true dramatic situation
begins, giving joy or suffering. It is this situation which produces the conflict. It turns the lonely
inhabitants of the house into a community.
From the moment that the conflict has set in, the brutal fact of space and time which they share
broadens and increases the network of their relations and the intensity of their problem. The anxiety in
the house can become so great that the two or the many are not helped by silence – because two or
many live in it. A conversation does not help them because the disturbance is not only in the intellect,
it is already in their bodies.
... It is a situation of two beings who do not understand one another, because and in spite of fullest
clarity and knowledge of one another. … Everything which happens and which is attempted is in vain.
They live in eternal recurrence and deepening of the same problems.
 ... The conflict is an inner pretext to hide themselves more deeply. But out of this labyrinth of
complication with father and mother, wife and child, friend and enemy, accumulated in the course or a
lifetime, growing into one’s world because or understandings and misunderstandings, one question
emerges at last: How shall the birth, the goodness, the truth, the lie, the murder, the gossip, the hate,
the fear, the horror, the pain, the stupidity, the madness, the recognition, the knowledge, the
withdrawal, the death, the mourning, the salvation, the limitless variations and combinations of these
processes one with another, how shall they all be saved?
... It can be done through the last theatre – the therapeutic theatre.
Theatre of Spontaneity p. 90
El Teatro de la Espontaneidad pp. 155-156
Teatro da Espontaneidade pp. 106-107

The players of the therapeutic stage are the inhabitants of the private house. If a person lives alone
the procession of sensations, feelings, and thoughts of a private, personal world can take place as in a
dream without resistance. But when two persons live together and meet one another daily, then the
true dramatic situation begins, giving joy or suffering. It is this situation which produces the conflict.
It turns the lonely inhabitants of the house into a community.
Psychodrama v. 1 p. 27
Psicodrama Espanhol p. 56
Psicodrama p. 76

... Not only the quality but perhaps also the quantity, the expansiveness of emotional interest has
been molded by the family group. A family being a group of few persons forces the growing child to
limit his attention to the development of few relationships, to parents and to siblings. His thirst to
expand is thus early cut and channeled; he gets used to being content with a small number of relations.
Who Shall Survive? p. 284
Fundamentos de la Sociometria p. 198
Quem Sobreviverá? v. 2 p. 153

FANTASY
... The fantasy or psychodramatic function is free of these extrapersonal resistances, unless he
interpolates his own resistance.
Psychodrama v. 1 p. 72
Psicodrama Espanhol p. 115
Psicodrama p. 124

FREE ASSOCIATION
... The technique of free association, for instance, involves spontaneous acting of the individual,
although it is restricted to speaking out whatever goes through his mind. What is working here is not
only the association of words but the spontaneity which propels them to associate. The larger the
volume of word association is, the more significant and more spontaneous is its production.
Psychodrama v. 1 p. XII
Psicoterapia de Grupo y Psicodrama p. 369
 Psicoterapia de Grupo e psicodrama p. 349

The process of starting, especially the use of bodily starters, in the warming up process, brings up
the question of how reliable free word-association may be as a guide to the deeper levels of the
psyche. We have seen that the position and the role the patient is in when the words emerge determine
largely the kind of associations he will produce.
Psychodrama v. 1 p. 200
Psicoterapia de Grupo y Psicodrama p. 299-300
Psicoterapia de Grupo e Psicodrama p. 284

FREE ASSOCIATION/CRITICISM
The process of starting, especially the use of bodily starters, in the warming up process, brings up
the question of how reliable free word-association may be as a guide to the deeper levels of the
psyche. We have seen that the position and the role the patient is in when the words emerge determine
largely the kind of associations he will produce.
Psychodrama v. 1 p. 200
Espanhol p. 276
Psicodrama p. 255

FREE ASSOCIATION/SPONTANEITY
... Mental healing process requires spontaneity in order to be effective. The technique of free
association, for instance, involves spontaneous acting of the individual, although it is restricted to
speaking out whatever goes through his mind. What is working here is not only the association of
words but the spontaneity which propels them to associate. The larger the volume of word
association is, the more significant and more spontaneous is its production. Other conditions being
equal, this is true of all other methods designed to assist in mental cures.
Psychodrama v. 1 p. XII
Psicoterapia de Grupo y Psicodrama p. 369
Psicoterapia de Grupo e Psicodrama p. 349

FREUD/MEETING FREUD-MORENO
... I met Dr. Freud only on one occasion. It occurred in 1912 when, while working at the
Psychiatric Clinic in Vienna University, I attended one of his lectures. Dr. Freud had just ended his
analysis of a telepathic dream. As the students filed out he asked me what I was doing. “Well, Dr.
Freud, I start where you leave off. You meet people in the artificial setting of your office, I meet them
on the street and in their home, in their natural surroundings. You analyze their dreams. I try to give
them the courage to dream again.
Psychodrama v. 1 pp. 5-6
Psicodrama Espanhol p. 27
Psicodrama p. 54

FUTURE
 A careful analysis of Man’s total situation has made clear to us that the process of secularization of
his religious, social and cultural institutions has developed too fast; he ran into the acts of
secularization almost with the same degree of blindness as he showed when he made in an earlier
period of history the same institutions prematurely sacred. There is no question that Man has to trace
his steps back from the secular to the sacred planes of living, from the technological back to the
spiritual plane, in order that the growing expansion of the self can find an inner equilibrium; it is a
paradox, but the realization methods of the saint and the technological methods of the physicist, the
two extremes – in between fall the realization methods of biometrists, psychometrists, sociometrists,
etc. – must meet and merge before the dawn of hope can rise again.
But the expansion of the self from the plane of the individual organism to the comic plane of ruler
of the universe cannot be imagined to be a process of cold engineering. It will be a realization
process of, by and through the self, a movement from the lower plane to a superior plane, the time for
each movement equaling that of a historical epoch. No one can predict for instance, how much time
and effort it will take until the social self on the plane of human society will have attained as high a
degree of integration as the degree of integration such as has been attained by the most highly
regarded single human individuals of history.
Theatre of Spontaneity pp. 10-11
El Teatro de la Espontaneidad pp. 38-39
Teatro da Espontaneidade pp. 23-24

... Peace will come to men in the distant future when they learn to get along although they do
not understand one another.
Who Shall Survive? p. 36
Fundamento de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 144

... With the cooperation of “all” the people we should be able to create a social order worthy of the
highest aspirations of our times. This is the meaning of revolutionary, dynamic sociometry.
Who Shall Survive? p. 57
Fundamento de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 163

The lifeline of the new era is marked by the combination of three developments: the diagnostic –
sociometry, the actional – psychodrama and the therapeutic – group psychotherapy.
Who Shall Survive? p. 119
Fundamento de la Sociometria p. não há
Quem Sobreviverá? v. 1 pp. 216-217

... The greater the number of valid studies in the years to come, the more accurate and complete
will be our psycho-geographical model of the world, as compared with the still sketchy and primitive
model which is available to us today.
Who Shall Survive? p. 123
Fundamento de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 220
 Future anthropologists will give to the animistic and totemistic philosophers of past cultures a high
place of honor.
Psychodrama: Foundations of Psychoterapy v. 2 p. 154
Las Bases de la Psicoterapia p. 253
Fundamentos do Psicodrama p. 171

FUTURE/MAN
There is one to whom we always have ascribed the power of infinite expansiveness. It is God. In
our religions it is perfectly natural to think that God has a private relation to each person of the
universe separately. He has no relationships em masse. ... Will the man of the future be more similar
to our image of God?
Who Shall Survive? p. 284
Fundamento de la Sociometria p. 198
Quem Sobreviverá? v. 2 p. 154

... There will then be two possibilities of survival for man: one, as a zootechnical animal, the
other, as a creator.
Who Shall Survive? p. 597
Fundamento de la Sociometria p. 409
Quem Sobreviverá? v. 3 p. 165

... If the future of mankind can be “planned”, then conscious evolution through training of
spontaneity-creativity opens a new vista for the development of the human race.
Who Shall Survive? p. 597
Fundamento de la Sociometria p. 409
Quem Sobreviverá? v. 3 p. 165

The battle between zoon (living animal) and zoomaton (mechanical animal) approaches a new
peripety. The future of man depends upon counterweapons to be developed by sociometry, sociatry,
bioatry and similar disciplines.
Who Shall Survive? p. 606
Fundamento de la Sociometria p. 417
Quem Sobreviverá? v. 3 p. 175

FUTURE/MASS MEDIA
... It is probable that once studios for therapeutic motion pictures are permanent, the actors will be
trained for every type of syndrome. But whatever the future developments, they should never be
permitted to finish a production by themselves, without the censorship of actual informants.
Psychodrama v. 1 p. 398
Psicomúsica y Sociodrama p. 213, Horme
Psicodrama pp. 458-459

... I foresee that in the not too distant future theatres for therapeutic television and motion pictures
will be just as common place as newsreel theatres are today. Each will have a psychiatric consultant.
They will provide the most effective vehicle for mass psychotherapy ever devised.
Psychodrama v. 1 p. 420
Psicomúsica y Sociodrama pp. 246-247, Horme
Psicodrama p. 481

... It is advisable to organize dramatized, living newspapers to be broadcast from television

stations throughout the world. This is more than the usual photographic reel of events but an
instrument by means of which the living creative genius on this planet can communicate directly and
instantly with their fellowmen.
Psychodrama v. 1 p. 420
Psicomúsica y Sociodrama p. 247, Horme
Psicodrama pp. 481-482

FUTURE/SEXUALITY
According to spontaneity research of the sexual act, the warming up process towards orgasm
develops into two different directions, one with the goal of conception, the other with the goal of
avoiding conception. If this division attains more and more a permanent character and becomes a
cultural pattern the psychosomatic characteristics of the rp orgasms may differ more and more from sa
orgasms. The dilemma of the future may turn out to be, instead of human fertility and overproduction
human “in” fertility and underproduction.
Who Shall Survive? p. 611
Fundamentos de la Sociometria p. 422
Quem Sobreviverá? v. 3 p. 180

FUTURE/SOCIATRY/SOCIOMETRY
... A sociatrist is thus one skilled in sociatry. A doctorate, or diplomat of sociatry is a degree to be
given in the future not exclusively to doctors of medicine, as it is now with psychiatry, but to doctors
of education, psychology and sociology as well.
Who Shall Survive? p. 119
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 216

... Therefore, all in all, the sociometric experiment is still a project of the future.
... The major experiment was visualized as a world-wide project – a scheme well-nigh Utopian in
concept – yet it must be recalled again and again to our attention lest it be crowded out by our more
practical daily tasks in sociometry.
Who Shall Survive? p. 121
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 218

... The sociometric experiment will end in becoming totalistic not only in expansion and extension
but also in intensity, thus marking the beginning of a political sociometry.
Who Shall Survive? p. 122
 Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 219

FUTURE/SPONTANEITY VERSUS CREATIVITY

It was in the year 1923 when I set forth the dictum: “Spontaneity Training is to be the main subject
in the school of the future”.
Psychodrama v. 1 p. 130
Psicodrama Espanhol p. 182
Psicodrama p. 181

... If we want to develop and sustain a spontaneous and flexible personality make-up, a technique
of Spontaneity Training as described must come to the rescue to offset the resignation and inertia of
the individual.
Psychodrama v. 1 p. 139
Psicodrama Espanhol pp. 193-194
Psicodrama p. 191

... When the twentieth century will close its doors that which I believe will come out as the greatest
achievement is the idea of spontaneity and creativity, and the significant, indelible link between them.
It may be said that the efforts of the two centuries complement one another. If the nineteenth century
looked for the “lowest” common denominator of mankind, the unconscious, the twentieth century
discovered, or rediscovered its “highest” common denominator – spontaneity and creativity.
Who Shall Survive? p. 48
Fundamento de la Sociometria p. 60
Quem Sobreviverá? v. 1 p. 154
G

GENIUS/HEROES
... Last but not least, the human species is the genius among the primates – and a prolonged latency
period is commonly found with geniuses.
Psychodrama v. 1 p. 64
Psicodrama Espanhol p. 106
Psicodrama p. 115

... Whereas the “genius” method made the participation in the sciences and arts an exception, the
scientific method strives towards making the participation universal.
Who Shall Survive? p. 23
Fundamento de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 133

... “It was the influence of psychoanalysis which waged a war from the rear against all genius in
order to reproach him with his complexes. Psychoanalysis – if one looks at it from a high historical
plane – is the vengeance of mediocrity: after the devaluation of nature and the devaluation of society,
the devaluation of the spirit.
Who Shall Survive? p. xxxiv Preludes
Fundamento de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 39 Prelúdios

GENIUS/SPONTANEITY AND WARMING UP

... There were many more Michaelangelos born than the one who painted the great paintings, many
more Beethovens born than the one who wrote the great symphonies, and many more Christs born than
the one who became the Jesus of Nazareth. What they have in common are the creative ideas,
motivation, intelligence, skill and education. What separates them is the spontaneity which, in the
successful cases, enables the carrier to take full command of the resources whereas the failures are at
a loss with all their treasures; they suffer from deficiencies in their warming-up process.
Psychodrama v. 1 p. 91
Psicodrama Espanhol p. 139
Psicodrama p. 142

... Analysis of works of genius or of genius in retrospect on the basis of material gained from
analysis of patients of average mentality is often misleading and erroneous. The task of the
psychiatrist is therefore to face a person of creative mentality in the midst of his dynamic difficulties.
Psychodrama v. 1 p. 285
Psicomúsica y Sociodrama p. 27, Horme
Psicodrama p. 342
 The creative artist’s personality is broken up into two fundamental roles in life. This split is the
outcome of a normal development. It is the outcome of necessity and not of disease. The one pattern is
his private personality. It begins at the moment of conception and ends with death. The other pattern is
a specific artistic creative process which may begin at any period during his lifetime.
Psychodrama v. 1 p. 290
Psicomúsica y Sociodrama p. 34, Horme
Psicodrama p. 346

... The creative ego may be using, hurting and destroying the private ego. ... The person of creative
genius is cruel to members of his social atom and even to himself if it helps the creative product.
Psychodrama v. 1 p. 290
Psicomúsica y Sociodrama pp. 34-35, Horme
Psicodrama p. 347

… The more original and profound the problem is which a genius sets himself the more is he
compelled to use, like the preconserve man, his own personality as an experimental tool and the
situation around him as raw material.
Psychodrama v. 1 p. 295
Psicomúsica y Sociodrama p. 44, Horme
Psicodrama p. 352

GENIUS/TELE
On the social plane we have isolated the factor tele which is able to give the direction which the
expansion of the self takes. In order to understand the operations of the tele, it is useful to differentiate
between projection and what can be called “retrojection”. Projection is usually defined as “throwing
upon others persons one’s ideas and assuming that they are objective, although they have a subjective
origin.” Retrojection is drawing and receiving from other persons (it can be extended to all the
dimensions and subsidiaries) their ideas and feelings, either to find identity with one’s own
(confirmation) or to add strength to the self (expansion).
The organization of the self within the individual organism begins early in life. It is universal
phenomenon and observable in every individual. In certain individuals the power of retrojection is
enormously developed. We call them geniuses and heroes. If a man of genius knows what the people
or the time needs and wants he is able to do this by the retrojective power of the self, that is, by a tele
process, not by projection. They assimilate with enormous ease the experience others have, not only
by drawing it from the people but because others are eager to communicate their feelings to them.
They recognize these experiences as similar or identical with their own and integrate them into their
self; that is how they are able to swell it to enormous expansion. When they lose their mandate, the
calling of the self vanishes and the self shrinks.
Theatre of Spontaneity pp. 8-9
El Teatro de la Espontaneidad p. 35
Teatro da Espontaneidade pp. 21-22

GOD
GOD/GODHEAD
The highest value of spontaneity and creativity, the topvalue on any axiological scale, is a totally
spontaneous-creative being, the Godhead. The question of existence or non-existence of God does not
matter here, as an ideal value postulate he has axiological significance, comparative to the notions of
“infinite” and zero in mathematics. It establishes a frame of reference for every possible type of
living being – animal, man or superman – for every type of action, work or permanence, for every
possible type of cultural conserve – memorized matter, the book, or the motion picture.
Psychodrama v. 1 p. 105
Psicodrama Espanhol p. 154
Psicodrama p. 156

The greatest model of “objectivity” man has ever conceived was the idea of the Godhead...
Who Shall Survive? p. xli Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 pp. 45-46 Prelúdios

... But it is from religious systems that sociometry has drawn its chief inspiration.
... It was in my philosophical Dialogues of the Here and Now and later in my Words of the Father
that I added a new dimension to the Godhead, a dimension which unconsciously was always there but
which has never been properly spelled out, theoretically the dimension of the “I” or God in the
“first” person (in contrast to the “Thou” God of the Christian, and to the “He” God of the Mosaic
tradition), the dimension of subjectivity, the dimension of the actor and creator, of spontaneity and
creativity.
Who Shall Survive? p. xl-xli Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 pp. 44-45 Prelúdios

... It is significant to note, in this connection, that many of God’s quasi-conserve qualities may have
been over-emphasized – His “works”, His “universe”, His “all-might”, His “righteousness” and His
“wisdom” – whereas His function as a spontaneous creator – the most revolutionary concept of a
god’s function – is nearly always a neglected one.
Psychodrama v. 1 p. 107
Espanhol p. 157
Psicodrama p. 159

... God is an exceptional case because in God all spontaneity has become creativity. He is one case
in which spontaneity and creativity are identical.
Who Shall Survive? p. 39
Fundamentos de la Sociometria p. 53
Quem Sobreviverá? v. 1 p. 147

It is also difficult to agree as to the structure of the self. I have described it as a cluster of rules
(private plus collective roles). It reaches out beyond the skin of the individual organism, one of the
“beyonds” is the inter-personal realm. How far does it stretch and where does it end, is the question.
If the self of Man can expand in creativity and power, and the whole history of Man seems to indicate
this – then there must be some relation between the idea of the universal self or God. The modern
apostles of Godlessness, when they cut off the strings which tied Man to a divine system, a
supramundane God, they cut in their enthusiastic haste a little too much, they also cut off Man’s very
self. By the same act by which they emancipated Man from God they emancipated also Man from
himself. They said God is dead, but it was Man who died. My thesis is therefore, that the center of
the problem is neither God nor the denial of his existence, but the origin, reality and expansion of
the self. By self I mean anything which is left of you and me after the most radical reduction of “us” is
made by past and future retroductionists.
Theatre of Spontaneity p. 8
Espanhol pp. 34-35
Teatro da Espontaneidade p. 21

When in one of mankind’s darkest hours ** its religious civilization crumbled under the feet of
marching armies, of soldiers and comrades, my first impulse was to give Man a new vision of God
and to let him see in a flash the universal religion of the future, which I was certain would finally and
permanently unite people into a single commonwealth. At a moment of greatest human misery when
the past seemed to be a delusion, the future a misfortune and the present a fugitive pastime I
formulated in the “Testament des Vaters” ** the most radical antithesis of our time by making my “I”
and “self” of the weak human bastard the same and identical with the I and self of God, the Creator of
the World. There was no need for proof that God exists and had created the world if the same I’s
whom he had created had taken part in the creation of themselves and in the creation of each other. If
then god was weak and humble, unfree and doomed to die, he was triumphant just the same. As the I-
Self-God it was he who had made himself unfree, in order to make a universe of billions of equally
unfree beings possible outside of himself, but depending upon them. The idea of God became a
revolutionary category, removed from the beginning of time into the present, into the self, into every I.
It is the “Thou”-God of the Christian Gospel who may need the proof of meeting, but the “I”-God of
the Self was self evident.
Theatre of Spontaneity p. 12
El Teatro de la Espontaneidad pp. 40-41
Teatro da Espontaneidade p. 25

There is one to whom we always have ascribed the power of infinite expansiveness. It is God. In
our religions it is perfectly natural to think that God has a private relation to each person of the
universe separately. He has no relationships em masse, ... ...Will the man of the future be more
similar to out image of God?
Who Shall Survive? p. 284
Fundamentos de la Sociometria p. 198
Quem Sobreviverá? v. 2 p. 154

... The creative definition of “Godplaying” is the maximum of involvement, the putting of
everything unborn from the chaos into the first moment of being. This preoccupation with the status
and locus nascendi of things became the guide of all my future work.
Who Shall Survive? p. xvii Preludes
 Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 25 Prelúdios

... The only way to get rid of the “God syndrome” is to act it out.
Who Shall Survive? p. xix Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 27 Prelúdios

The genesis of the Godhead fertilized another idea in my mind: God was not just a Godplayer in
the literal sense. Would God have been only God, a narcissus in love with himself and with his own
expansion, the universe would never have come into existence. It is because he became a “lover” and
a “creator” that he could create the world. If God would come into the world again he would not
come into it as an individual, but as a group, as a collective.
Who Shall Survive? p. xix-xx Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 27 Prelúdios

GROUP COHESION.
... There are several indications that a marked change in the cohesion of the group has taken place:
a) the increased number of choices going into the cottage family, centering interest more upon
members of the group than upon members of other groups; b) the number of mutual rejections has
fallen from 5 to 1; c) there is no isolate; d) the higher structures have increased, there are now 2
triangles instead of 1, 1 square instead of 0 and there is no star of rejections as against 1 in the
previous sociogram. Another feature is the distribution of attractions and rejections within the group.
There were 58% of attractions and 42% of rejections before; there are now 74% of attractions and
only 26% of rejections. The cottage group was classified before as Inward Aggressive, more than
50% of its population rejecting some member of the group. After reconstruction the inward
aggressiveness has receded, only 9 members of its population reject some member of the group.
Classification: The original Extraverted and Centrifugal Organization has turned into Introverted
and Centripetal Organization.
Who Shall Survive? p. 520
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 pp. 82-83

43. Injury proneness decreases with increase of social cohesion. Army platoons and crews of
workmen should be organized along sociometric lines, so as to decrease the injury proneness of
soldiers and workers.
Who Shall Survive? p. 713
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 205

GROUP PSYCHOTHERAPY/AGE OF THE MEMBERS

22. The younger the members, the more important is the age of the individual; the older the
members, the more important is the age of the group.
Who Shall Survive? p. 702
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 193

GROUP PSYCHOTHERAPY/BEGINNINGS/HISTORY
The theory of interpersonal relations is born of religion.
Who Shall Survive? p. xxx-xxxi Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 37 Prelúdios

The first sociometric plan of a population was constructed by me between 1915 and 1918.
Who Shall Survive? p. xxxii m Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 37 Prelúdios

Martin Buber was acquainted with my early work; he was a contributor to Daimon, a monthly
magazine of which I was the editor, 1918-1920.
Who Shall Survive? p. xxxi Preludes. (Footnote)
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 37 Prelúdios. (nota de rodapé)

... The government was concerned with three problems and reflected them into the planning: safety
from the enemy, sanitation, and subsistence. However, social and psychological planning was not
considered, not even conceived of. A staff of which I was a member was appointed by the
government to supervise the problem of sanitation in the new community. In this position and later as
superintendent of the children’s hospital established within it, I had the opportunity to study this
community from its earliest beginning to its final dissolution three years later when at the end of the
war the colonists returned to their homes in Tyrol. During this period a whole community life
developed. Step by step, hospitals, schools, church, theater, department stores, shops, industry, social
clubs, newspaper, came into function. Yet, in the face of an attempt of the government to meet the
emergency and notwithstanding the establishment of practically all the outward signs of a community
life, there was great unhappiness and friction among the population. Whole villages of wine growers
were transplanted into a suburban industrial district, mountaineers from Tyrol into a flat spot of
country near Vienna. They were thrown together unselected, unaccustomed to the environment,
unadjusted within themselves. I studied the psychological currents they developed around varying
criteria – the criterion of nationality, of politics, of sex, of staff versus colonists, and so on – and
considered them as the chief contributory sources of the flagrant maladjustments and disturbances. It
was through this experience that the idea of a sociometrically planned community began to occupy
me.
Who Shall Survive? pp. xxxii- xxxiii Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 38 Prelúdios
 ... I had in mind that what La Salle and Marx had done for the working class, leaving aside the
revolutionary aspect of the labor movement, was to make the workers respectable, to give the
working man dignity; to organize them into labor unions in order to raise the status of the entire class.
Aside from the anticipated economic achievements it was accompanied by ethical achievements.
... But we were optimistic and started to meet groups of eight to tem girls, two of three times a
week in their houses. It was during the afternoon when the Viennese had what is called “Jauze”; it is
the counterpart of the English five o’clock tea. ... The conferences at first simply dealt with everyday
incidents which the girls encountered, being caught by a policeman because of wearing too
provocative a dress, being put into jail because of false accusations of a client, having a venereal
disease but being unable to find a hospital to admit her, becoming pregnant and giving birth to a baby
but having to hide the child before the world under a different name and hiding her own identity as the
mother towards the child. ... They first noticed superficial results, for example, we were able to get a
lawyer for them to represent them in a court, a doctor to treat them and a hospital to admit them. ...
The girls volunteered to pay a few dimes a week towards the expenses of these meetings as well as
towards some savings for emergencies like sickness and unemployment or old age. ... But we began
to see then that “one individual could become a therapeutic agent of the other” and the potentialities
of a group psychotherapy on the reality level crystallized in our mind.
Who Shall Survive? pp. xxix–xxx Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 35-36 Prelúdios

Four aspects of group psychotherapy struck me already then; they became later the cornerstones of
all forms of group psychotherapy: 1) the autonomy of the group; 2) that there is a group structure and
the need for knowing more about it, group diagnosis as a preliminary to group psychotherapy; 3) the
problem of collectivity; prostitution represents a collective order with patterns of behavior, roles and
mores which colors the situation independent from the private participants and the local group; 4) the
problem of the anonymity. When a client is treated within the framework of individual therapy, he is
alone with the doctor, his ego is the only focus, he has a name, his psyche is highly valued private
property. But in group psychotherapy there is a tendency towards anonymity of membership, the
boundaries between the egos weaken, the group as a whole becomes the important thing.
Who Shall Survive? pp. xxx-xxxi Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 pp. 36-37 Prelúdios

GROUP PSYCHOTHERAPY/CHILDREN
1. The earliest tendencies of structure in the evolution of groups are the stage of organic isolation
(identity), the stage of horizontal and vertical differentiation, the stage of fusion of differentiated
structures to forms of a new and higher identity, and the stage of cohesion, the integration and
stabilization of group structure as a whole on a certain level of development; these are recurrent
patterns; there is a halo effect of earlier stages upon later stages; they are found however extensive
and complex the groups have become.
Who Shall Survive? p. 699
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 pp. 188-189
 8. A cleavage between groups of children and groups of adults emerges – a social cleavage,
from about six to seven years on.
Who Shall Survive? p. 701
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 190

GROUP PSYCHOTHERAPY/CHOICE OF THE THERAPIST

41. The choice of the therapist is frequently emphasized by psychoanalysis. The choice of
therapist in individual psychology has its counterpart in the choice of the participant members in
group psychotherapy. It is here, however, of far greater importance than in individual psychotherapy.
Who Shall Survive? p. 713
Espanhol p. não há
Quem Sobreviverá? v. 3 p. 204

GROUP PSYCHOTHERAPY/DEFINITIONS
Definition 1: A method which protects and stimulates the self regulating mechanism of natural
groupings. It attacks the problem through the use of one man as the therapeutic agent of the other, of
one group as the therapeutic agent of the other”. l From Application of the group Method to
Classification, p. 104, 1932.
Definition 2: “the groups function for them selves and the therapeutic process streams through their
mutual interrelationships.” From the same publication, p. 61.
Definition 3: “Group Psychotherapy is the result of well calculated spontaneous therapy plus
proper social assignment…. The leader is within the group, not a person outside”. Same publication,
p. 94 .
Definition 4: “Group therapy will be advantageous for persons who do not recover by themselves
or through some form of psychological analysis or medication, but only through the interaction of one
more persons who are so coordinated to the patient that the curative tendencies within are
strengthened and the disparaging tendencies within checked, so that he may influence the member of
his group in similar manner.” Ibid, p. 97
Definition 5: “Spontaneous formation of social groups based on the enthusiasm of the participants
or on common interests and aims achieves often miraculous results, but cannot be called grouping in
our sense as most of the interrelations remain unanalyzed. Ibid, p. 72, 1932.
Definition 6: “Group Psychotherapy treats not only the individual who is the focus of the attention
because of maladjustment, but the entire group of individuals who are interrelated with him.” Who
shall survive? P. 301, 1934.
Definition 7: “A truly therapeutic procedure cannot have less and objective than the whole of
mankind”. Ibid, p. 3.
Moreno, J. L. “Definitions of Group Psychotherapy” in Group Psychotherapy, v. iii, June
1960, nº 2, p. 119.
Psicoterapia de Grupo y Psicodrama pp. 79-80
Psicoterapia de Grupo e Psicodrama pp. 70-71
 ... “Group psychotherapy is a method which protects and stimulates the self-regulation mechanisms
of natural groups – through the use of one man as a therapeutic agent of the other, of one group as a
therapeutic agent of the other”.
Who Shall Survive? p. lv Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 58 Prelúdios

GROUP PSYCHOTHERAPY/FEES
6. Should patients of the same therapeutic group pay the same fee or not? Could charging different
fees to member of the same therapeutic group produce feelings odd inequality and thwart the
therapeutic aim?
Moreno, J. L. “Code of Ethics of Group Psychotherapist” in Group Psychotherapy, Beacon
House, v. x, nº 1, March 1957, p. 143.
Psicoterapia de Grupo y Psicodrama p. 106
Psicoterapia de Grupo e Psicodrama p. 95

GROUP PSYCHOTHERAPY/GROUP’S SOCIAL DEFENSE

MECHANISM...
They are also met by what may be called the survival of social and psychological impressions
which predispose the attitude of the group towards them. This phenomenon preserves the group
against any radical innovations the newcomer may seek to impose suddenly. It is a group’s social
defense mechanism.
Who Shall Survive? p. 391
Fundamentos de la Sociometria p. 266
Quem Sobreviverá? v. 2 p. 244

GROUP PSYCHOTHERAPY/INCLUSION OF NEW MEMBERS

1. The greater the original affinity between the newcomer and the parental figure of the group, the
better will the newcomer be accepted by the whole group. The best chance for a central and rapid
integration into the new environment is a “mutual” first choice between the parental figure and the
newcomer.
2. The greater the original affinity between the newcomer and the key individual (outstanding star)
of the group, the better will the newcomer be accepted by the whole group. Here a mutual first choice
is the most desirable condition.
3. The affinity of the newcomer for the prominent members of the group to which he is assigned is
more significant than their affinity towards him; centrifugal spontaneity is more essential to
adjustment than centripetal spontaneity.
The question has been raised why 1) first choice, 2) mutuality of choice and 3) centrifugal
spontaneity
Should be important for adequate group inclusion. The answer is that, just like in every “love”,
mutual love from the start of acquaintance on is an excellent beginning for continuous partnership;
having chosen each other first creates a form of “axionormative” obligation to make good, trying hard
to make their own decision stick. A person who loves although unreciprocated is still better off than a
person whom everyone loves but who is not able to reciprocate.
Who Shall Survive? p. 715
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 pp. 207-208

GROUP PSYCHOTHERAPY/INDICATION
... The indication of group psychotherapy or of one particular method in preference to another must
be based on the sociodynamic changes of structure which can be determined by means of group tests
of which two illustrations have been given above. Group psychotherapy has come of age and
promises a vigorous development largely because group theory and group diagnosis have paved the
way and have kept pace with the rapidly expanding needs for application.
Psychodrama v. 1 p. 322
Psicomúsica y Sociodrama pp. 89-90, Horme
Psicodrama p. 380

GROUP PSYCHOTHERAPY/PATERNITY
These are my conclusions: if we think of group psychotherapy in vague, clinical terms instead of in
terms of rigorous scientific method, it would be only just to consider Mesmer as the one who used
group psychotherapy first. But, if group psychotherapy is correctly defined as a form of therapy which
is based on knowledge of group structure and which aims at measurable changes of group dynamics
before and after a therapeutic operation is applied to it – regardless what the operation is, lecture,
interview, discussion, activity, regrouping, psychodrama, motion picture, or a combination of them –
then Moreno’s claim to the paternity of group psychotherapy is justified.
Who Shall Survive? p. lix – lx Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 62 Prelúdios

GROUP PSYCHOTHERAPY/PSYCHOTHERAPEUTIC SUCCESS OR

FAILURE
40. The outstanding single factor determining success or failure in group psychotherapy is the
spontaneous choice of members or the spontaneous affinity between them. They must hang together by
spontaneous affinities in order that one becomes a therapeutic agent of the other.
Who Shall Survive? p. 712
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 204

GROUP PSYCHOTHERAPY/SECRECY
8. The Hippocratic Oath binds the physician to keep all matters of his professional practice secret.
In group psychotherapy the Hippocratic Oath is extended to all patients and binds each with equal
strength not to reveal to outsiders the confidences of others patients entrusted to them. Like the
therapist, every patient is entrusted to protect the welfare of the co-patients.
Moreno, J. L. “Code of Ethics of Group Psychotherapist” in Group Psychotherapy, Beacon
House, v. x, nº 1, March 1957, p. 144.
Psicoterapia de Grupo y Psicodrama p. 106
Psicoterapia de Grupo e Psicodrama p. 96

GROUP PSYCHOTHERAPY/SIZE OF THE GROUP

37. The size of the group in group psychotherapy depends upon the emotional expansiveness
positive and negative, of the members of the group.
Who Shall Survive? p. 712
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v.-3 p. 203

GROUP PSYCHOTHERAPY/SMALLEST GROUP

... Therefore, we may consider first the smallest possible group which dominates modern
counseling, the group of two, the “therapeutic dyad”. In every therapeutic situation there are at least,
two individuals, the therapist and the patient.
Psychodrama : Foundations of Psychoterapy v. 2 p. 4
Las Bases de la Psicoterapia p. 17
Fundamentos do Psicodrama p. 18

GROUP PSYCHOTHERAPY/SOCIODRAMA
... There is a limit therefore, as to how far the psychodramatic method can go in fact-finding and
solving inter-personal conflicts. The collective causes cannot be dealt with except in their
subjectified form. … They too, were super-individual, like the storm which broke the fence, but a
social storm, which may have to be understood and controlled by different means. A special form of
psychodrama was necessary which would focus its dramatic eye upon the collective factors. This is
the way sociodrama was born.
The true subject of a sociodrama is the group. It is not limited by a special number of individuals,
it can consist of as many persons as there are human beings living anywhere, or at least of as many as
belong to the same culture.
Psychodrama v. 1 pp. 353-354
Psicomúsica y Sociodrama pp. 139-140, Horme
Psicodrama pp. 412-413

GROUP PSYCHOTHERAPY/SUBJECT
The true subject of a sociodrama is the group. It is not limited by a special number of individuals,
it can consist of as many persons as there are human beings living anywhere, or at least of as many as
belong to the same culture.
Psychodrama v. 1 pp. 353-354
Psicomúsica y Sociodrama p. 140, Horme
Psicodrama pp. 412-413

GROUP PSYCHOTHERAPY/VERSUS INDIVIDUAL

PSYCHOTHERAPY
 When the locus of therapy changed from the individual to the group, the group became the new
subject (first step). When the group was broken up its individual little therapists and they became the
agents of therapy, the chief therapist became a part of the group (second step) and finally, the medium
of therapy was separated from the healer as well as the group therapeutic agents (third step). Due to
the transition from individual psychotherapy to group psychotherapy, group psychotherapy includes
individual psychotherapy; due to the transition from group psychotherapy to psychodrama,
psychodrama includes and envelops group psychotherapy as well as individual psychotherapy.
Psychodrama v. 1 p. 318
Psicomúsica y Sociodrama p. 82, Horme
Psicodrama p. 376

... Even the so-called group approach in psychodrama is in the deeper sense individual-centered.
The audience is organized in accord with a mental syndrome which all participating individuals have
in common, and the aim of the director is to reach every individual in his own sphere, separated from
the other. He is using the group approach only to reach therapeutically more than one individual in the
same session. The group approach in psychodrama is concerned with a group of private individuals,
which makes the group itself, in a sense, private.
Psychodrama v. 1 p. 353
Psicomúsica y Sociodrama p. 139, Horme
Psicodrama pp. 411-412

The difference between psychodrama and sociodrama should be extended to every type of group
psychotherapy. A difference should be made between the individual type of group psychotherapy and
the collective type of group psychotherapy. The individual type of group psychotherapy is
individualcentered. It focuses its attention upon the single individuals in the situation, of which the
group consists, and not upon the group in general. The collective type of group psychotherapy is
group centered. It focuses its attention upon the collective denominators and is not interested in the
individual differentials or the private problems which they produce.
Psychodrama v. 1 p. 364 (footnote)
Psicodrama Espanhol p. não há
Psicodrama p. 424 (nota de rodapé)

The term and the concept of group psychotherapy which I have introduced refer to the treatment of
the total group. It treats not only the individual who is the focus of attention because of
maladjustment, but the entire group of individuals who are interrelated with him in the
community...
Who Shall Survive? p. 501
Fundamentos de la Sociometria p. 336
Quem Sobreviverá? v. 3 p. 61

... Due to the transition from individual psychotherapy to group psychotherapy, group
psychotherapy includes individual psychotherapy.
Who Shall Survive? p. 90
Fundamentos de la Sociometria p. não há
 Quem Sobreviverá? v. 1 p. 191

GROUP/NORMAL X THERAPEUTIC
I differentiate between natural group, like the family, from synthetic group like therapy and training
groups and further, the encounter group which is neither, although it has elements of both.
Moreno, J. L. “Ontology of Group Formation” in Group Psychotherapy, A Quarterly, v.x,
nº4,December 1957, p. 348.
Psicoterapia de Grupo y Psicodrama p. 28
Psicoterapia de Grupo e Psicodrama p. 25

GROUP/STAGES OF
(1) amorphous stage
(2) stage of acquaintance
(3) action stage
(1) stage of mutual relations
Psychodrama v.1 p. 327
Psicomúsica y Sociodrama p. 97, Horme
Psicodrama p. 385
H

HAPPENING 8
... “It is noteworthy that the psychodrama has nothing to do with ‘Happening’, although it may in its
vulgarized form, be confused with it, as for instance, with a psychomusical spectacle which was
arranged by art students in Anthony’s University Residence in 1959 and which later was considered a
happening. In opposition to its anarchic amorphous theatricality, which in the happening is played up
to a fashionable craze, the aim of psychodrama is a genuine organization of form, a creative
selfrealization in the act, on a structuring of space, a realization of human relationships within the
scenic action. In the happening individuals behave in a self-idolizing, self-sufficient manner; as no
form is brought about, also genuine participation of the group of invited spectators is not possible;
everyone is relegated to himself, dependent only on his completely narcissistic behavior. Yes, one
may say that unrelatedness is the salient feature of ‘Happenings’, whereas the theme of psychodrama
is precisely the relationship of the individual to the group and to society.”
Theatre of Spontaneity p. b
El Teatro de la Espontaneidad pp. 15-16
Teatro da Espontaneidade p. 10

HEALING
HEALING/MENTAL HEALING PROCESSES
... Mental healing processes require spontaneity in order to be effective. The technique of free
association, for instance, involves spontaneous acting of the individual, although it is restricted to
speaking out whatever goes through his mind. What is working here is not only the association of
words but the spontaneity which propels them to associate. The larger the volume of word
association is, the more significant and more spontaneous is its production.
Psychodrama v. 1 p. xii
Psicodrama Espanhol p. 369
Psicoterapia de Grupo e Psicodrama p. 349

HEALING/SECOND TIME
But this mad passion, this unfoldment of life in the domain of illusion does not work like a renewal
of suffering, rather it confirms the rule: every true second time is the liberation from the first.
Liberation is an exaggerated definition of what takes place because complete repetition of a process
makes its subject look foolish or ridiculous. One gains towards his own life, towards all one has
done and does, the point of view of the creator – the experience of the true freedom, the freedom
from his own nature. The first time brings the second time to laughter. ... But the same pain does not
affect the player and spectator as pain, the same want does not affect him as want, the same thought
does not affect him as thought.
 Theatre of Spontaneity pp. 91-92
El Teatro de la Espontaneidad pp. 157-158
Teatro da Espontaneidade pp. 107-108

HEALING/SPONTANEITY
... The dynamic role which spontaneity plays in Psychodrama as well as in every form of
Psychotherapy should not imply however, that the development and presence of spontaneity in itself is
the “cure”. There are forms of pathological spontaneity which distort perceptions, dissociate the
enactment of roles, and interfere with their integration on the various levels of living.
Psychodrama v. 1 p. xii
Psicoterapia de Grupo Y Psicodrama p. 369
Psicoterapia de Grupo e Psicodrama p. 350

HENRY BERGSON
... To Henri Bergson, for one, goes the honor of having brought the principle of spontaneity into
philosophy (although he rarely used the word), at a time when the leading scientists were adamant
that there is no such thing in objective science. But his “données immediates”, his “élan vital” and
“durée” were metaphors for the one experience which permeated his life’s work – spontaneity – but
which he vainly tried to define. There is no “moment” in his system, only durée. “Duration is not one
instant replacing another … duration is a continuous progress of the past which gnaws into the future
… the piling up of the past upon the past goes on without relaxation.” Bergson’s universe cannot start
and cannot relax, it is a system in which there is no place for the moment. ... But without the moment
as locus nascendi, a theory of spontaneity and creativity threatens to remain entirely metaphysical or
to become entirely automatic.
Psychodrama v. 1 pp. 8-9
Psicodrama Espanhol pp. 30-31
Psicodrama pp. 57-58

Bergson, by making the élan vital a fetish, developed the other extreme. The total denial of
determinism is just as sterile as its full acceptance. Whereas Freud’s psychic determinism did not
leave any room for the s factor, Bergson left, so to speak, so much room to the creative that everything
outside of it became a demonic distortion. ... whereas Bergson made his élan vital so creative, one
instant being as creative as the other, that all instants resolved in an absolute durée of creativity, with
the result that a category of the moment could not develop a significance of its own.
Psychodrama v. 1 p. 103
Psicodrama Espanhol pp. 151-152
Psicodrama p. 154

HERE AND NOW

From this method of the “here and now and we” three versions of the psychodrama developed, a)
the emergent psychodrama in situ, b) the group-centered psychodrama and c) the leader-centered
psychodrama.
 Who Shall Survive? p. lxxii Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 73 Prelúdios

The “here and now” of existence is a dialectic concept. The only form in which perceived pasts
and perceived futures exist is in the here (this place) and now (this moment). The here and now may
have been in numerous pasts and many move into numerous futures. The only genuine opposite to the
here and now is the concept of complete nothingness the non-here and the non-now, the non-past and
the non-future, the non-I and the nonyou, i.e., non-living.
Psychodrama v. 2 p. 226
Las Bases de la Psicoterapia p. 359
Fundamentos do Psicodrama p. 240

HERE AND NOW/ETHICS

... I discovered the spontaneous man again when I began to run role playing and psychodramatic
sessions. In the course of thousands of sessions I have run in the last four decades, whenever I
worked with groups, I felt that I must work within the here and now and that any rehash would not
only be unethical but also untruthful and finally, also untherapeutic.
Psychodrama v. 2 p. 137
Las Bases de la Psicoterapia p. 227
Fundamentos do Psicodrama p. 154

HISTORY
HISTORY/FIRST CONGRESS OF GROUP PSYCHOTHERAPY
O acontecimento organizador mais importante para a evolução da psicoterapia de grupo foi o
Congresso de Terapeutas de Grupo celebrado no Hotel Bellevue-Stratford de Filadélfia em 31 de
maio de 1932, no quadro da Associação Americana de Psiquiatria. Mas de cem psicoterapeutas
tomaram parte neste congresso, entre eles William Alanson White, Franz Alexander, Sandor Lorand,
Frederic Wertham, Paul Schröder, V. C. Branham, Helen Jennings. Vieram ao simpósio para avaliar
os métodos de aplicação da psicoterapia de grupo. Esses métodos se encontravam em meu primeiro
livro, recém-publicado.
Moreno, J. L. “The First Book of Group Psychotherapy”, Beacon House, 1957, p. 131.
Psicoterapia de Grupo y Psicodrama p. 32
Psicoterapia de grupo e Psicodrama pp. 28-29

HISTORY/VIENA OF 1910
... The Vienna of 1910 was one of the display grounds of the three forms of materialism which has
become since the undisputed world master of our age, the economic materialism of Marx, the
psychological materialism of Freud, and the technological materialism of the steamboat, the airplane
and the atomic bomb. All three forms of materialism, however contrary to each other, had tacitly one
common denominator, a deep fear and disrespect, almost a hatred against the spontaneous, creative
self (which should not be mixed up with individual genius, one of its many representations).
 Theatre of Spontaneity p. 5
El Teatro de la Espontaneidad pp. 28-29
Teatro da Espontaneidade p. 17

HUMOUR
HUMOUR/THERAPY
Many things which one girl would not tell another or the housemother in life she may act out in a
play, and the humor of it may prevent and heal many potential grievances which might otherwise have
led to actual let to actual conflict.
Who Shall Survive? p. 534
Fundamentos de la Sociometria p. 357
Quem Sobreviverá? v. 3 pp. 98-99

HYPNODRAMA AND HYPNOSIS

Hypnodrama is a synthesis of psychodrama and hypnosis. The idea of hypnodrama came to me
through an accident. In the summer of 1939, the late Dr. Solby brought a young woman for treatment.
She suffered from paranoid delusions accompanied by nightmares, every night the devil came to visit
here. She was unable to get into a psychodramatic contact with the incident. After trying the self-
directed technique and methods of mild prompting without results I became highly directive; this put
the patient unexpectedly into a hypnotic trance. I decided to try a psychodrama under these novel
circumstances. With the aid of two male auxiliary egos she was able to portray two meetings with the
devil, one as it had happened the night before, one as he expected it to happen the following night.
Apparently hypnosis operated as a “starter” and spurred her spontaneity.
Moreno, J. L. “Hypnodrama and Psychodrama”, in Group Psychotherapy, Beacon House,
nº1, v. iii, April 1950, p. 6.
Psicoterapia de Grupo y Psicodrama p. 126
Psicoterapia de Grupo e Psicodrama p. 112

Although hypnosis is the starting point of a hypnodrama, the hypnotisand takes part in the
production as the central character, he is exposed to a bombardment of psychodramatic stimuli and is
suggested by the chief therapist to interact during the session with every auxiliary ego.
Moreno, J. L. “Hypnodrama and Psychodrama”, in Group Psychotherapy, Beacon House,
nº1, v. iii, April 1950, p.7
Psicoterapia de Grupo y Psicodrama p. 127
Psicoterapia de grupo e Psicodrama p. 113

With the entrance of psychodrama into the arena of the medical therapies, however, a change has
been taking place, as the literature of the last few years discloses. The conversion of hypnosis can
proceed into two directions, a) submitting the patient to a material analysis after the hypnotic trance is
over, which hypnotists or psychoanalysts trained in hypnosis have frequently tried to do. But the
hypnotic operation turning the patient unconscious and the psychoanalytic operation, turning the
patient conscious, contradict each other. The other conversion was to combine hypnosis with
dramatic methods and use analysis supplementary to the process of psychodrama as it unfolds. These
two directions, hypnosis plus psychoanalysis, and hypnosis plus psychodrama are actually in the
process of developing, the one under the label of hypnoanalysis, the other I have called it,
hypnodrama. But if one watches some of the hypoanalysts (as well the hypnotists) of today as to what
they actually practice, even if they camouflage it in writings, the more explicit it becomes the
psychodramatic elements are becoming an intrinsic part of their operation, and that they are becoming
more and more conscious of these elements. When they interpret them they may or may not use
psychoanalytic concepts but what they do has little similarity to free association; it does have great
similarity to psychodrama.
Moreno, J. L. “Hypnodrama and Psychodrama”, in Group Psychotherapy, Beacon House,
nº1, v. iii, April 1950, pp. 7-8
Psicoterapia de Grupo y Psicodrama p. 128
Psicoterapia de Grupo e Psicodrama pp. 113-114

Hypnosis is induced on the psychodrama stage portion. The hypnotizant is free to act, to move
about, and is given auxiliary egos to help portray his drama. Hypnodrama is a merging of
hypnotherapy with psychodrama.
Psychodrama v. 3 p. 244
Psicoterapia de Grupo y Psicodrama pp. 144-145
Psicoterapia de Grupo e Psicodrama p. 128
I

IDEE FIXE
Why I chose the course of the theatre instead of founding a religious sect, joining a monastery or
developing a system of theology (although they do not exclude one another), can be understood by
taking a view into the setting from which my ideas sprang. I suffered from an idee fixe, from what
might have been called then an affectation, but of which might be said today, as the harvest is coming
in, that it was by “the grace of God.” The idee fixe became my constant source of productive; it
proclaimed that there is a sort or primordial nature which is immortal and returns afresh with every
generation, a first universe which contains all beings and in which all events are sacred. I liked that
enchanting realm and did not plan to leave it, ever.
Theatre of Spontaneity p. 3
El Teatro de la Espontaneidad pp. 25-26
Teatro da Espontaneidade p. 15

... I suffered from an idée fixe, from what might have been called then an affectation, but of which
might be said today, as the harvest is coming in, that it was by “the grace of God”. The idee fixe
became my constant source of productivity; it proclaimed that there is a sort of primordial nature
which is immortal and returns afresh with every generation, a first universe which contains all beings
and in which all events are sacred. I liked that enchanting realm and did not plan to leave it, ever.
Who Shall Survive? p. xviii Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 26 Prelúdios

IDENTITY/IDENTIFICATION
... Catharsis in the sociodrama differs from catharsis in the psychodrama. The psychodramatic
approach deals with personal problems principally and aims at personal catharsis. In psychodramatic
procedure a subject whether it is a Christian, a Communist, a Negro, a Jew, a Jap, or a Nazi is treated
as a specific person, with his private world. His collective situation is considered only as far as it
affects his personal situation. Therefore, he has to be himself the chief actor in the treatment
procedure. In sociodramatic procedure the subject is not a person, but a group. Therefore it is not an
individual Negro who is considered, but all Negroes, all Christians, all Jews, are considered. ... The
protagonist on the stage is not portraying a dramatis personae, the creative output of the mind of an
individual playwright, but a collective experience. He, an auxiliary ego, is an emotional extension of
many egos. Therefore, in a sociodramatic sense, it is not identification of the spectator with the actor
on the stage, presuming some difference between him and the character which the latter portrays. It is
identity. All Christians, all Jews or all Nazis are collective characters. Every Christian is, as a
Christian, identical with every other Christian. In the primary phase of collective identity, there is no
need, therefore, for identification. There is no difference between spectators and actors; all are
protagonists.
Psychodrama v. 1 pp. 364-365
Psicomúsica y Sociodrama pp. 159-161, Horme
Psicodrama pp. 424-425

... Identity should be considered apart from the process of identification. It develops prior to the
latter in the infant and it operates in all intergroup relations of adult society. For the infant, “self” and
“immediate milieu” are the same thing, there is no self-other relation. “Self” and “other” are the two
yet undifferentiated portions of the “matrix of identity”. ... to the Non-Negroes, for instance, all
Negroes are taken as identical, the Negro;... ... This “taking” is like a collective reflex, before some
differential experience changes the instrument. This principle of identity works also in reverse.
Negroes take themselves as a single collective, the Negro, a condition which submerges all
individual differences,... ... We shall call this identity, the identity of role.
Psychodrama v. 1 pp. 381-382
Psicomúsica y Sociodrama pp. 184-186, Horme
Psicodrama pp. 442-443

... On the other hand the process of identification is rarely complete. Most acts of identification are
with a phase only of the other person. (...) 9It was what I called partial identification, not a full one.
Psychodrama v. 1 p. 383
Psicomúsica y Sociodrama p. 187, Horme
Psicodrama p. 444

... I usually call distorted identification10. In this category fall many of the transference
identifications in the Freudian sense, projections of a wish or of a fear.
Psychodrama v. 1 p. 383
Psicomúsica y Sociodrama p. 188, Horme
Psicodrama p. 444

Within the fold of identity, the process of infantile role taking occurs. Infantile role taking consists
of two functions – role giving (giver) and role receiving (receiver). ... The result of this interaction is
that a certain reciprocal role expectancy is gradually established in the partners of the role process.
Psychodrama v. 1 p. 62
Psicodrama Espanhol p. 103
Psicodrama p. 113

IDENTITY/SUBJECTIVE VERSUS OBJECTIVE

It is useful to differentiate between subjective and objective identification, in the process of
analysis. By subjective identification we mean the projection of an individual, usually unreal feeling
into another individual. According to Freud identification is due to the transference of the image or,
for instance, one’s own father, the image of authority and omnipotence, upon a stranger. That stranger
may be in fact fully void of omnipotence as well as of authority the identification of the stranger with
one’s father is therefore of a subjective character. In objective identification on the other hand, the
experience of an image or situation of another person is fairly accurate. One of the most important
forms of objective identification is with roles portrayed by other individuals. If for instance, in this
audience social workers feel akin to one another it is first because of the principle of identity which
operates already on the level of non-acquaintance, and then, as soon as they become acquainted,
because of role identification. This kind of identification is an objective process.
... The three principles, identity, subjective identification and role are usually interwoven.
Psychodrama v 1 p. 382
Psicomúsica y Sociodrama pp. 186-187, Horme
Psicodrama p. 443

IMAGES/THERAPEUTIC IMAGES
The aim of our retraining is to arouse and increase the spontaneity of the reproducing musician.
Therapeutic images are simply one method which can be used to advantage. ... The method of
activating images is only a crutch to aid the musician or the pupil in the process of learning to be
spontaneous.
Psychodrama v. 1 p. 307
Psicomúsica y Sociodrama p. 61, Horme
Psicodrama pp. 364-365

IMPROVISATION
IMPROVISATION/AS A PRIMARY PRINCIPLE
The theatre of Spontaneity has no relation to the so-called Stanislavski method. Improvisation in
this method is supplementary to the aim of playing a great Romeo or a great King Lear. The element
of spontaneity is here to serve the cultural conserve, to revitalize it. The method of improvisation, as
a primary principle, to be developed systematically in spite of the conserve and the serving it
consciously was outside of Stanislavski’s domain.
Theatre of Spontaneity pp. 100-101
El Teatro de Espontaneidad p. 168
Teatro da Espontaneidade p. 119

IMPROVISATION/METHOD OF
Improvisation is a method used by artists in embarrassing moments. It is an illegitimate bag of
tricks in the “legitimate theatre.” Ad lib can be defined as the unlicensed freedom, “laissez faire” of
the legitimate actor.
… A variety of improvisation is often called “abreaction.” Whereas improvisation has an esthetic
aim and is characterized by some degree of freedom, abreaction has no conscious esthetic aim, it is
unfree and compulsory. Both have a low degree of mental organization.
Theatre of Spontaneity p. 79
El Teatro de Espontaneidad pp. 140-141
Teatro da Espontaneidade pp. 95-96

Impromptu is not a substitute for the theatre, but an independent art form. The name “theatre”
attached to it has given rise to erroneous analogies.
 Psychodrama v. 1 p. 33
Psicodrama Espanhol p. 66
Psicodrama p. 82

The modern Impromptu Movement departs essentially from former attempts (Greece, India, etc.),
insofar as the scant historical references permit a comparison. At the beginning of many national
cultures of old and prehistoric age the Impromptu play (dance, music, drama, etc.) appeared. But its
significance has not been recognized by artists and philosophers of those times. The discovery of the
moment and its relation to the technique of the creative act was due in our time, as a very late step in
human civilization.
Psychodrama v. 1 p. 34
Psicodrama Espanhol pp. 66-67
Psicodrama p. 83

... If we imagine the author as apart from the types that came forth from him, the following process
may be observed. Each of these personae dramatis is his own creator, and the poet is he who
combines them into a unified whole. There you have the primary concept of the Impromptu
performance.
Psychodrama v. 1 p. 41
Psicodrama Espanhol p. 75
Psicodrama p. 91

INFANT
... Instead of looking at the infant from the lower organisms up, trying to interpret him as a little
animal, in animal-psychological terms, and instead of trying to interpret him as a little neurotic or
young savage, from the neurotic angle, it is of relevance to look at the human infant systematically
from the platform of the highest concrete examples of human embodiment and achievement – we mean
here, literally, the geniuses of the race – and to interpret him as a potential genius. We assume here
that, in the geniuses of the race, certain dormant capabilities and basic skills, common to all men,
come to their most expression. ... Their natural and continuous spontaneity and creativity, not only in
rare moments but as a daily expression, give us clues for understanding the infant which cannot be
dismissed, unless we consider all genial performers of the human race as freaks.
Psychodrama v. 1 pp. 48-49
Psicodrama Espanhol p. 87
Psicodrama p. 99

... By an accident of nature, it seems the human infant is born nine months after conception. He
might have been born many months later, and the newborn might have sprung off nearly ready to take
care of himself, as nearly ready as some of the newborns among other vertebrates. ... therefore, the
amount of help which he needs in order to survive has to be very much greater and more prolonged
than other infant of the primate class.
Psychodrama v. 1 p. 49
Psicodrama Espanhol p. 88
 Psicodrama p. 100

A child between two or three may not be able to understand when a parent says to him: “You
shouldn’t do that. Don’t hit the dog. Don’t run after the cat. You frighten her”. Such words are often
meaningless and remain without impression. We have to remember that the child has his memory in
the act and not in his memory (1). Rapid forgetting of incidents is a natural condition, but he can be
taught “in the act” if the bitter pill, so to speak, is placed in the envelope of action.
Psychodrama v. 2 p. 151
Las Bases de la Psicoterapia p. 248
Fundamentos do Psicodrama p. 167

The child never gives up his expectations to become the center and ruler of the world. He may
become humble as he ages and as he learns that the universe has a stubborn structure of its own which
he is unable to penetrate and conquer through magic methods. He will play any game – the game of the
scientific method or any future improvements on it – as long as it helps by a detour towards the
fulfillment of his profound intention to be forever connected with existence, to be all-powerful,
immortal, and at least ex post facto to verify at the end of time the words of genesis: “In the beginning
was God, the creator of the world”, but to reverse the direction* of the arrow from the past to the
future, from the God outside of him towards himself.
Psychodrama v. 2 pp. 136-137
Las Bases de la Psicoterapia p. 226
Fundamentos do Psicodrama p. 153

Every child has a wonderdrug at his disposal, prescribed to him by nature itself,
Megalomania “Normalis”
Dosim Repetatur.
Psychodrama v. 2 p. 139
Las Bases de la Psicoterapia p. 230
Fundamentos do Psicodrama p. 156

INFANT/INSIDE/ETERNAL CHILD WITHIN THE ADULT BEING

... Man’s imagination will not quit the eternal child in him. It will find new ways to fill the universe
with fantastic beings even if he has to create them.
Psychodrama v. 2 pp. 154-155
Las Bases de la Psicoterapia p. 253
Fundamentos do Psicodrama p. 171

... Man’s imagination will not quit the eternal child in him.
Psychodrama v. 2 pp. 154-155
Las Bases de la Psicoterapia p. 255
Psicoterapia de Grupo e Psicodrama p. 237

INFANT/LONG PREGNANCY
... The psychoanalytic theory that the intra-uterine existence of the embryo is too short, implying
that a longer pregnancy might be more desirable, is a misapprehension. If the pregnancy state of the
human infant could be prolonged by an experiment of nature or, by some technological device, be
extended from nine months, let us say, to fifteen months, the result might be that the human infant
would be born fully developed and would compare much better with the primate and other vertebrate
infants. He might arrive quite independent and self-sufficient, but he would have sacrificed the
opportunities for which the social placenta prepares him to a prolonged incubation in a narrow
rebounding environment. He would sacrificed the productive culture-bearing association with active
and highly organized beings to a life in isolation; last, but not least, he might have arrived, because of
his comparative self-sufficiency, much less in need of help but also less sensitive for the acculturation
of the social heritage incorporated in the auxiliary egos of the new environment.
Psychodrama v. 1 p. 64
Psicodrama Espanhol p. 105
Psicodrama p. 115

INFANTILE AMNESIA
Infantile amnesia and the act-hunger syndrome. One of the important characteristics of the first
universe is the total amnesia which we have for about the first three years of our life. ... For the infant
and the young child growing up, the situation is somewhat different. Some registration takes place,
certainly after the first few months as the infant shows signs of remembering certain persons and
objects like the foods and the mother with whom he has been intimately acquainted.
... Our explanation of amnesia is based upon the warming up process to a spontaneous act. ... A
certain part of his ego must set itself aside as a sort of internal participant observer and register the
events. Only if an event has been registered, can it be remembered, and only if it has been
remembered, can it be forgotten. ... The conclusion is that, in such cases, when nothing is remembered
by the subject of acts and events which have taken place in and around him, such an inner participant
observer did not develop. It did not establish itself, because every part of the subject of the person
was included in the act.
Psychodrama v. 1 p. 65
Espanhol pp. 106-107
Psicodrama p. 116

INFANTILE AMNÉSIA/FIRST 2-3 YEARS OF LIFE

... d) The phenomena of retroactive amnesia of every individual for the first 2-3 years of life; they
are probably due to the “act hunger syndrome”, the prevalence of psychomotoric involvement during
infancy.
Psychodrama v. 2 pp. 101-102
Psicodrama Espanhol p. 172
Fundamentos do Psicodrama p. 118

INFANTILE AMNESIA/RETROACTIVE AMNESIA

... This undivided absorption of the infant in the act 6 to which it is warming up is the basic reason
why the two dimensions of time, the dimension of the past and the dimension of the future, are
undeveloped, or at best, rudimentary. It is the past in which we store our memories, and it is the
future which may profit from their registration. ... The infant develops intermittently, so to speak, a
retroactive amnesia even for the slight amount of registration of acts and events which he has been
able to retain.
... We must conclude that the recurrent retroactive amnesia of the infant sum up to the total
amnesia effect which the older child and the adult have for the first three years of their lives.
Psychodrama v. 1 pp. 65-66
Espanhol p. 107
Psicodrama p. 117

INSTITUTIONS
As such, but merely as such, it has, like a court, a church or a parliament, a stereotype character
and is in the mind of the people connected with a series of ceremonial acts. They form, as permanent
institutions, a sort of legitimate theatre within society itself.
Theatre of Spontaneity p. 76
El Teatro de la Espontaneidad p. 135
Teatro da Espontaneidade p. 92

INSTRUMENTS OF THE PSYCHODRAMATIC METHOD

The psychodramatic method uses mainly five instruments – the stage, the subject or patient, the
director, the staff of therapeutic aides or auxiliary egos, and the audience. The first instrument is the
stage. Why a stage? It provides the patient with a living space which is multi-dimensional and
flexible to the maximum. The living space of reality is often narrow and restraining, he may easily
lose his equilibrium. On the stage he may find it again due to its methodology of freedom – freedom
from unbearable stress and freedom for experience and expression. The stage is an extension of life
beyond the reality tests of life itself. Reality and fantasy are not is conflict, but both are functions
within a wider sphere – the psychodramatic world of objects, persons and events. In its logic the
ghost of Hamlet’s father is just as real and permitted to exist as Hamlet himself. Delusions and
hallucinations are given flesh – embodiment on the stage – and an equality of status with normal
sensory perceptions. The architectural design of the stage is made in accord with therapeutic
requirements. Its circular forms and levels of the stage, levels of aspiration, pointing out the vertical
dimension, stimulate relief from tensions and permit mobility and flexibility of action. The locus of a
psychodrama, if necessary, may be designated everywhere, wherever the patients are, the field of
battle, the classroom or the private home. But the ultimate resolution of deep mental conflicts requires
an objective setting, the therapeutic theater. Like in religion, although the devout may pray to his God
in his own chamber, it is in the church where the community of believers attain the most complete
confirmation of their faith.
Psychodrama v. 1 pp. a-b Introduction to 4º edition
Psicodrama Espanhol p. não há
Psicodrama pp. 17-18 Introdução à 4a edição

The second instrument is the subject or patient. He is asked to be himself on the stage, to portray
his own private world. His is told to be himself, not an actor, as the actor is compelled to sacrifice
his own private self to the role imposed upon him by a playwright. Once he is warmed up to the task
it is comparatively easy for the patient to give an account of his daily life in action, as no one is as
much of an authority on himself as himself. He has to act freely, as things rise up in his mind; that is
why he has to be given freedom of expression, spontaneity. Next in importance to spontaneity comes
the process of enactment. The verbal level is transcended and included in the level of action.
Psychodrama v. 1 p. b Introduction to 4º edition
Psicodrama Espanhol p. não há
Psicodrama p. 18 Introdução à 4a edição

The third instrument is the director. He has three functions: producer, therapist and analyst. As
producer he has to be on the alert to turn every clue which the subject offers into dramatic action, to
make the line of production one with the life line of the subject, and never to let the production lose
rapport with the audience. As therapist attacking and shocking the subject is at times just as
permissible as laughing and joking with him; at times he may become indirect and passive and for all
practical purposes the session seems to be run by the patient. As analyst he may complement his own
interpretation by responses coming from informants in the audience, husband, parents, children,
friends or neighbors.
Psychodrama v. 1 p. c Introduction to 4º edition
Psicodrama Espanhol p. não há
Psicodrama p. 19 Introdução à 4a edição

The fourth instrument is a staff of auxiliary egos. These auxiliary egos or therapeutic actors have a
double significance. They are extensions of the director, exploratory and therapeutic, but they are also
extensions of the patient, portraying the actual or imagined personae of their life drama. The functions
of the auxiliary ego are threefold: the function of the actor, portraying roles required by the patient’s
world; the function of the therapeutic agent, guiding the subject; and the function of the social
investigator.
Psychodrama v. 1 p. c Introduction to 4º edition
Psicodrama Espanhol p. não há
Psicodrama p. 19 Introdução à 4a edição

The fifth instrument is the audience. The audience itself has a double purpose. It may serve to help
the patient or, being itself helped by the subject on the stage the audience becomes the patient. In
helping the patient it is a sounding board of public opinion. Its responses and comments are as
extemporaneous as those of the patient, they may vary from laughter to violent protest. The more
isolated the patient is, for instance because his drama on the stage is shaped by delusions and
hallucinations, the more important becomes, to him, the presence of an audience which is willing to
accept and understand him. When the audience is helped by the subject, thus becoming the patient
itself, the situation is reversed. The audience sees itself, that is, one of its collective syndromes
portrayed on the stage.
Psychodrama v. 1 p. c Introduction to 4º edition
Psicodrama Espanhol p. não há
Psicodrama p. 19 Introdução à 4a edição
INTERPERSONAL SITUATION
... From the contact between two spontaneity states centering, naturally, in two different persons,
there results an interpersonal situation.
Psychodrama v. 1 p. 403
Psicomúsica y Sociodrama p. 221, Horme
Psicodrama p. 464

INTERPSYCHE
... Marriage and family therapy for instance, has to be so conducted that the “…” of the entire group
is re-enacted so that all their tele-relations, their co-conscious and co-unconscious states are brought
to life.
Psychodrama v. 1 p. vii Introduction to 3rd edition
Psicodrama Espanhol p. não há
Psicodrama p. 30 Introdução à 3a edição

INTRAPSYCHIC
In the original social – atom charts the ego of the patient was shown in relationship to his numerous
partners. A more through consideration of the position of the individual within his social atom
suggests considering him also in relationship with himself. As an infant grows he does not only
experience other people but also experiences himself. As a result of this tele-relationship, he begins
not only to feel himself, but also to see himself as one towards whom persons have acted in a certain
way and as one who has acted towards them in a certain way. Gradually he develops a picture of
himself.
J. L. Moreno, “Psychodramatic Shock Therapy” in “Group Psychotherapy and
Psychodrama”, Beacon House, v. xvii, nº1-4, 1974 p. 4
Psicoterapia de Grupo y Psicodrama pp. 346-347
Psicoterapia de Grupo e Psicodrama p. 331

... The self appears in the warming up to a spontaneous state divided into the spontaneous actor and
an inner counteracting (participant) observer. This division is of great significance in therapeutic
work, but it is also the dynamic foundation for the tragic and comic phenomenon in the drama.
Theatre of Spontaneity p. 44
El Teatro de la Espontaneidad p. 83
Teatro da Espontaneidade p. 59

The position of psychodrama within the sociometric system is therefore divided. With its major
portion as an instrument which investigates the deeper structures of inter-individual and inter-group
relations, it belongs to Sociometry. With a minor portion as an instrument which studies personality
as a separate unit, as far as this can be imagined, it is related to the projective techniques and is a
sub-field of psychology.
Psychodrama v. 1 p. 250
 Psicodrama Espanhol p. 335
Psicodrama p. 306

Because we cannot reach into the mind and see what the individual perceives and feels,
psychodrama tries, with the cooperation of the patient, to transfer the mind “outside” of the individual
and objectify it within a tangible, controllable universe. ... Its aim is to make total behavior directly
visible, observable, and measurable.
Psychodrama v. 1 p. xxi-xxii Introduction to 3rd edition
Psicodrama Espanhol p. não há
Psicodrama pp. 47-48 Introdução à 3a edição original inglês

INTROJECTION
INTROJECTION/TELE
On the social plane we have isolated the factor tele which is able to give the direction which the
expansion of the self takes. In order to understand the operations of the tele, it is useful to differentiate
between projection and what can be called “retrojection”. Projection is usually defined as “throwing
upon others persons one’s ideas and assuming that they are objective, although they have a subjective
origin.” Retrojection is drawing and receiving from other persons (it can be extended to all the
dimensions and subsidiaries) their ideas and feelings, either to find identity with one’s own
(confirmation) or to add strength to the self (expansion).
The organization of the self within the individual organism begins early in life. It is universal
phenomenon and observable in every individual. In certain individuals the power of retrojection is
enormously developed. We call them geniuses and heroes. If a man of genius knows what the people
or the time needs and wants he is able to do this by the retrojective power of the self, that is, by a tele
process, not by projection. They assimilate with enormous ease the experience others have, not only
by drawing it from the people but because others are eager to communicate their feelings to them.
They recognize these experiences as similar or identical with their own and integrate them into their
self; that is how they are able to swell it to enormous expansion. When they lose their mandate, the
calling of the self vanishes and the self shrinks.
Theatre of Spontaneity p. 8-9
El Teatro de la Espontaneidad p. 35
Teatro da Espontaneidade pp. 21-22

ISOLATE
Isolate: not choosing and being unchosen on any criterion. He does not sent out or receive any
negative choices. His sociometric score is zero.
Who Shall Survive? p. 720
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 214

ISOLATE/INVOLUNTARY ISOLATES
 38. Students are warned not to think that being isolated or unchosen is a “bad” situation, or being
much chosen is in itself a “good” situation. Such thinking might lead to a “sociometric astrology”.
Sociometric findings are clues and guides for further investigation, they are not like the fixed position
of a peck order. There are voluntary isolates whose air of determined withdrawal may instantly kill
the tele towards them in the mind of their partners. They do not choose and they tell you by their
manner or even overtly: “Do not choose me, I prefer to be alone”. Furthermore, do not assume that the
total structure of a group is “good” or “bad” because its cohesion is high of low. It often depends
upon the criterion around which the group is formed.
… The study of involuntary isolates or unchosen ones who make choices but whose choices
persistently remain unreciprocated suggests that they suffer from states of anxiety and insecurity.
They frequently do not have the spontaneity to respond adequately to a situation in which they find
themselves unwanted. Their anxiety rises and when they try again and again unsuccessfully, their
anxiety rises further; their tele perception is often not sensitive to differentiate clearly the individuals
who choose them from those who do not.
Who Shall Survive? p. 712
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 205

ISOLATE/VOLUNTARY ISOLATES
38. Students are warmed not to think that being isolated or unchosen is a “bad” situation, or being
much chosen is in itself a “good” situation. Such thinking might lead to a “sociometric astrology”.
Sociometric findings are clues and guides for further investigation, they are not like the fixed position
of a peek order. There are voluntary isolates whose air of determined withdrawal may instantly kill
the tele towards them in the mind of their partners. They do not choose and they tell you by their
manner or even overtly: “Do not choose me, I prefer to be alone”.
Who Shall Survive? p. 712
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 203
J

JESUS
... Jesus, like a chief therapeutic actor, had his auxiliary egos in his apostles and his
psychodramatic director in God himself who prompted him what to do.
Psychodrama v. 1 p. 8
Psicodrama Espanhol p. 30
Psicodrama p. 57

In his existentialistic credo Kierkegaard was by no means original. He merely repeated the
teachings of the Scriptures. There is in religious literature hardly any other person known who
insisted upon existential validation more than Jesus Christ, as against the inner decay of the church of
his time.
Psychodrama v. 2 p. 210
Las Bases de la psicoterapia p. 334
Fundamentos do Psicodrama p. 224

JEWS
JEWS/ATTRACTION BETWEEN JEWS AND GERMANS
In the second place there is the factor of sexual attraction between Jews and Germans which may
also gain in significance far beyond the numerical proportions of the German and Jewish populations
involved. ... Only from the sociogram could we learn how many more German women have been
attracted to Jewish men and how many more Jewish women have been attracted to German men, ...
...Similarly, only the sociogram will disclose how many German women reject Jewish men, etc.
Evidently, the amount of sexual attraction and rejection which the members of a minority group, here
the Jews, exert upon members of the opposite sex in the majority group, the Germans, and vice
versa,...
Who Shall Survive? pp. 560-561
Fundamentos de la sociometria p. 380
Quem Sobreviverá? v. 3 pp. 127-128

JEWS/EMOTIONAL EXPANSIVENESS
... Jews may have developed, for sociodynamic reasons, a larger emotional expansiveness than
Germans. We should not conclude that this condition is characteristic for Jews per se because certain
levels of aspiration are forbidden to them, economically, professionally, socially, culturally. Another
sociometric finding has been that the emotional expansiveness of individuals grows with their
acquaintance volume and that the effect of differences in individual emotional expansiveness will be
multiplied proportionate to the growth of interaction between members of the two groups. The greater
the restrictions on making acquaintance with members of the majority group, the greater will become
the load of frustration upon the emotional expansiveness of the minority members and the tensions
between the two groups will increase in intensity.
Who Shall Survive? p. 560
Fundamentos de la sociometria pp. 379-380
Quem Sobreviverá? v. 3 p. 127

JEWS/EXCESS OF EFFORT/PRIVILEGED POSITIONS

In the third place, the cultural, political, social, professional and economic positions or situations
aspired to or controlled by the members of the minority group, should be considered. If, as it is
claimed, that the Jews in Germany held more positions in the professions, arts and industries than
would have been proportionate to their numbers, this may have been due to an excess of effort beyond
that of perhaps equally talented Germans.
Who Shall Survive? p. 561
Fundamentos de la sociometria p. 380
Quem Sobreviverá? v. 3 p. 128

JEWS/GERMAN’S ENVY
... As the majority of the dependent groups are German, we can imagine feelings of resentment
arising among the German leader groups, together with the conviction that they have a more “natural
right” than the Jewish leaders to direct the German masses of workers and farmers.
Who Shall Survive? p. 563
Fundamentos de la sociometria p. 382
Quem Sobreviverá? v. 3 p. 130

JEWS/JEWISH ANTI-SEMITISM
... Similarly, the amount of rejection which the Jew has for himself and for his fellow Jews in
various degrees of intensity and clothed in all kinds of motivation is well known as Jewish
antisemitism.
Who Shall Survive? p. 562
Fundamentos de la sociometria p. 381
Quem Sobreviverá? v. 3 p. 129

JEWS/LEADER PRODUCTION
... Applied to the German-Jewish conflict, the Jewish population in Germany may have produced
more leader individuals than their numeric proportion, either because the Jews suffer from a surplus
of leader individuals or because the Germans suffer from an insufficiency in leader production. The
surplus of leader individuals among the Jews may only be a false effect, due to the crowding of the
Jewish intelligentsia into certain professions and industries which give their members considerable
prestige.
Who Shall Survive? p. 563
Fundamentos de la sociometria p. 382
Quem Sobreviverá? v. 3 p. 130
JEWS/TELE EFFECT
... On the inter-racial level, the attention which a man of the Jewish minority receives from a
German woman who happens to be the center of admiration of numerous German men may produce
within the psychological networks a “tele” effect, that is, a sociodynamic effect with consequences
far beyond the two persons and the immediate group or persons involved in the matter.
Who Shall Survive? pp. 562-563
Fundamentos de la sociometria pp. 381-382
Quem Sobreviverá? v. 3 p. 129
K

KIERKEGAARD
... In principle Kierkegaard was a religious-philosophical author of high rank and left behind him
in his books a documentation describing his plight and prescriptions for real existence.
Psychodrama v. 2 pp. 207-208
Las Bases de la Psicoterapia p. 330
Fundamentos do Psicodrama p. 222

... Kierkegaard was, in essence, what we might call today, a “frustrated psychodramatist” who was
unable to bring the essential situations of his life to a victorious ending. Kierkegaard never became in
life itself the active, dynamic prophet of this fantasy, but he left for the next generation a testament to
follow.
... If we remove the religious clothing and the emphasis upon the Scriptures, Kierkegaard should be
called a psychodramatist rather than an existentialist.
Psychodrama v. 2 pp. 208-209
Las Bases de la Psicoterapia p. 332
Fundamentos do Psicodrama p. 223

Finally, it is amusing to think that Kierkegaard is attaining a belated rehabilitation, not by the
modern existentialists who have given him a gentle phenomenological burial, but via the
psychodramatic stagedoor.
Psychodrama v. 2 p. 217
Las Bases de la Psicoterapia p. 345
Fundamentos do Psicodrama p. 231

KURT LEWIN
... It was Kurt Lewin, then an exponent of Gestalt theory. The first time he was accompanied by
several of his students. The meeting was mutually stimulating and so we met several times in
succession. He had read WHO SHALL SURVIVE? and the topics of the discussions were sociometry
and the dynamics of group structure, spontaneity training, and a role-playing film which had been
made in Hudson and was then being shown in several places.
Who Shall Survive? p. lxiii–lxiv Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 pp. 65-66 Prelúdios
L

LANGUAGE
LANGUAGE/BASIC LANGUAGE
Basic language is a spontaneous formation of words, it is void of the mutually significant language
symbols. Feelings are linked to phonetic sounds and to gestures. The language has no logical
grammatical structure. It seems meaningless to an outsider who is not involved but the gestures and
the feelings which accompany the sounds provide them with a dramatic and vivid character. ... It was
found helpful in giving stutterers, aphasics, certain deteriorated schizophrenics and senile patients the
experience of sound communication.
Who Shall Survive? p. 33-34
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 142

It is the matrix out of which and upon which our grammatical and organized languages grew. The
spontaneous use of the basic language is not only helpful to infants before they learn to speak their
mother tongue, but to all humans in the course of certain neuropsychiatric disturbances during which
they have either lost the function of speech, like an aphasia, or are fearful of it, like in certain mental
disorders.
Who Shall Survive? p. 34
Espanhol p. não há
Quem Sobreviverá? v. 1 p. 142

... There are several methods by which one can learn to mobilize easy transfer, for instance, the
improvisation of senseless, manufactured words and phrases in the treatment of stutterers. ... It is a
method in “deconserving” the learner’s mind, gradual removal of clichés and training his spontaneity.
One area of application is stuttering. ... This chaotic, spontaneous, freely emerging language I have
called “basic language” as it has some similarity to the baby languages of the infant.
Who Shall Survive? p. 543
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 pp. 108-109

LANGUAGE/DEVELOPMENT
11. In the semantic development of the infant there are three crucial moments: the first cry, the first
sound and the first word. The sound matrix is prior to the language matrix. Taking the “sound” of the
other precedes taking the role of the other. The infant is dependent, in the acquisition of language and
social roles, upon the other, but he is not quite so dependent in the acquisition of his psychosomatic
roles as, for instance, the role of the eater and the sleeper, there he is autonomous, he takes his own
role. In the role of the soundmaker he is on both sides of the fence, he takes some of the sounds from
the voice configurations around him, from the voices of other humans, from birds and animals,
tinkling objects and the elementary sounds of nature, but he adds something to them from his own,
spontaneous autonomy. The body of the infant is a soundproducing instruments; like from a musical
instrument, a player can evoke sounds from it. As time goes on the infant may learn to play on it
different and more sophisticated tunes; but he has something to start with, the physical spontaneity of
soundmaking is an inherent skill of his body.
Who Shall Survive? p. 717
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 209

LAW/THE LAW OF SOCIAL GRAVITATION

People 1(P1) and People 2 (P2} move towards each other in direct proportion to the amount of
attraction given (a1) or received (a2), in inverse proportion to the amount of repulsion given (r1) or
received (r2) and in inverse proportion to the physical distance (d) between locality X and locality
Y, the residences of P1 and P2 respectively, the facilities of communication between X and Y being
constant.
Moreno, J. L. “The Three Branches of Sociometry” Sociometry Monographs nº 21, Beacon
House 1947, p. 9
Psicoterapia de Grupo y Psicodrama (espanhol) p. 53
Psicoterapia de Grupo e Psicodrama (portuguese) p. 49

5. The distribution of energy in social space takes place in accord with the law of social
gravitation. The sociometric formula of social gravitation is “People 1 (P1) and People 2 (P2) move
towards each other – between a locality X and a locality Y – in direct proportion to the amount of
attraction given (a1) or received (a2), in inverse proportion to the amount of repulsion given (r1) of
received (r2), the physical distance (d) between the two localities being constant, the facilities of
communication between X and Y being equal.
Who Shall Survive? p. 696
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 185

LAW/THE SOCIODYNAMIC LAW

(D) The “sociodynamic law”. The sociodynamic law is divided into a first and a second part. The
first part states that the income of emotional choices per capita is unevenly divided among members
of the group regardless of its size or kind;…
The second part states that if the opportunities of being chosen are increased by increasing the size
of the group and the number of choices per capita, the volume of choices continues to go to those of
the top end of the range (“the stars”) in proportion to the size of the group and to the number of
choices permitted per capita, maintaining or increasing the gap between the small star group, the
average group and the neglected group.
Moreno, J. L. “The Three Branches of Sociometry” Sociometry Monographs nº 21, Beacon
House 1947, pp. 7-8
Psicoterapia de Grupo y Psicodrama (espanhol) p. 53 (similar)
Psicoterapia de Grupo e Psicodrama (portuguese) p. 48 (similar)
 The sociodynamic law affects all human relations; it operates (a) on the interpersonal level and (b)
on the intergroup level. It is found in some degree in all social aggregates whatever their kind;
whether the criterion is search for mates, search for employment, or in socio-cultural relations. Is
effect may change in degree but it is universally present, appearing like a halo effect, inherent in
every social structure. A particularly significant effect takes place on the level of economic relations.
The “surplus” choice becomes analogous to the surplus value observed by Marx in the process of
accumulation and production of capital. The distorted profit picture in economic relations is a
reflection of the distorted tele picture on the interpersonal and intergroup level. The social revolution
on the class level is therefore a displacement from the microscopic choice and rejection picture to the
macroscopic level. Social Revolution on the macrosociological level is only part of the struggle.
Marx was operating on the gross, macrosociological level of events. He often used intuitively near
sociometric ideas, a “macro” sociometrist.
Similar in Moreno, J. L. “Three Branches of Sociometry”, in Sociometry Monographs nº21,
Beacon House 1947, pp. 8-9.
Psicoterapia de Grupo y Psicodrama p. 53 (similar)
Psicoterapia de Grupo e Psicodrama p. 48 (similar)

9. The present human society is a preferential system produced, to a considerable extent, by the
sociodynamic effect, also called the sociodynamic law. It is divided into a first and second part. The
first part states that the income of emotional choices per capita is unevenly divided among the
members of the group regardless of its size or kind; a comparatively few get a lion’s share of the total
output of emotional choices, out of proportion with their needs and their ability to consummate them;
the largest number form an average income of choice group within their means to consummate them
and a considerable number remain unchosen or neglected.
Who Shall Survive? pp. 697-698
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 187

... The second part states that if the opportunities of being chosen are increased by increasing the
size of the group and the number of choices per capita, the greater volume of choices continues to go
to those at the top end of the range (the “stars”) in direct proportion to the size of the group and to the
number of choices permitted per capita, furthering the gap between the small star group, the average
group and the neglected group.
Who Shall Survive? p. 698
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 187

Sociodynamic law holds that the distribution of sociometric scores is positively skewed. The
tendency in any particular group for more choices to go to few members is the sociodynamic effect.
“This tendency is related to the development of the value system of the group. Values develop by
becoming more precisely embodied in the persons of fewer members of the group.” (See H. J.
Hallworth, Bibliography).
Who Shall Survive? p. 722
 Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 216

LAW/THE SOCIOGENETIC LAW

Our survey of the development of spontaneous group organizations from year to year of age among
children and adolescents appears to indicate the presence of a fundamental “sociogenetic” law which
may well be said to supplement the biogenetic law. Just as the higher animals have evolved from the
simplest forms of life, so, it seems, the highest forms of group organization have evolved from the
simple ones. If children were given the freedom to use their spontaneous groups as permanent
associations, as children-societies, then similarities in structure and conduct with primitive human
societies become apparent.
Who Shall Survive? p. 214
Fundamentos de la Sociometria p. 152
Quem Sobreviverá? v. 2 p. 93

6. The group theory of evolution postulates that a gradual evolution from simpler to more complex
social patterns takes place in accord with a sociogenetic law. By simple social patterns we mean
sociometrically simple and patterns resulting from a minimum of criteria, as among infants and
pretechnological societies. By complex we mean patterns which are sociometrically complex and
resulting from a large number of criteria. The larger the number of criteria operating in a society the
more is formation of groups stimulated and the greater becomes their complexity.
Who Shall Survive? p. 697
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 186

(E) The “Sociogenetic Law”- The sociogenetic law states that the highest forms of group
organization have evolved from simple ones: between the simplest patterns of groups formed by
infants and the most complex formed by adults there are numerous intermediary stages. … The course
of differentiation may differ from one culture to another, from a pre-literate to a modern society, but
common basic core of evolutionary patterns and a parallel trend should be found in all of them
Moreno, J. L. “Three Branches of Sociometry”, in Sociometry Monographs nº21, Beacon
House 1947, p. 9
Psicoterapia de Grupo y Psicodrama p. 52
Psicoterapia de Grupo e Psicodrama p. 48

LEADERSHIP
22. Hypothesis of leadership. Leadership is a function of group structure. The form it takes depends
upon the constellation of the particular group. The power index of a leader depends upon the power
indices of the individuals who are attracted to and influenced by him. Their indices are again
expressed by the number of individuals who are attracted to and dominated by them. The power index
of the leader is, however, also dependent upon the psychosocial communication networks to which
his referrents belong and the position which the networks themselves have within the entire collective
within which his leadership is in operation.
 Who Shall Survive? p. 707
Fundamento de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 198

LEARNING
LEARNING/AUTONOMY
Learning is an all inclusive process of which educational learning is only one phase. It must
include learning in life itself from infancy up to old age, for sub-human as well as human organisms.
... Once we have formulated such a broad view of the learning process we can go a step further and
evaluate all these various learning instruments as to what they accomplish for the autonomy, the
spontaneity and the creativity of the learners themselves.
Who Shall Survive? p. 544
Fundamentos de la Sociometria p. 366
Quem Sobreviverá? v. 3 pp. 110-111

One can measure the educational or therapeutic value of an instrument by the degree to which it
stimulates the autonomy of individuals or groups. The degree of autonomy, for instance, which
psychoanalysis permits a subject to attain is limited to the verbal dimension. Non-directive
counseling may be given a still lower rating than psychoanalysis because by itself it does not increase
the spontaneity of the therapeutic learner; on the other hand it is so designed that it decreases the
spontaneity of the counselor. The degrees to which the subject warms up to an experience and
expression of himself and others is a measure of the autonomy of the self. ...Such instruments enabling
high degrees of autonomy are psychodrama and sociodrama.
Who Shall Survive? p. 545
Fundamentos de la Sociometria p. 366
Quem Sobreviverá? v.`3 p. 111

LEARNING/OVERLEARNER/UNDERLEARNER
The goose step learner is often instructed to overlearn, to know his piece better than necessary, as
a safety device against slipping or stage fright. “Under learning” may be an equally important device
for the spontaneous learner. The overlearner wants a cultural
Who shall survive pp. 543
Fundamentos de la Sociometria p. 365
Quem Sobreviverá? v. 3 p. 109

LEARNING/SPONTANEITY
... There are several theories which have tried to explain this process, the one is the theory of
conditioning, the other the theory of repression. But there is one hypothesis which has been neglected,
that is that among other factors, learning is affected by the rising and falling of the spontaneous states
in the learner.
Who shall survive? p. 539
Fundamentos de la Sociometria p. 361
Quem Sobreviverá? v. 3 p. 104
 The field theorists have discovered one dimension of learning, the visual or perceptual
restructuring of the problem, but they have neglected to study the dynamic factors which cause these
restructuring tendencies to emerge. The association theorists have discovered another dimension of
learning, the laws of associative strength, as the frequencies of response and the latency of reaction
time of response. Both contributions can be integrated into the spontaneity theory of learning, the one
having focussed on the structure, the other on the functions of the mind. The spontaneity theorist
places both phenomena into a larger matrix, the action matrix dealing with a higher grade organism,
the actor in situ.
Who Shall Survive? p. 541
Fundamentos de la Sociometria p. 363
Quem Sobreviverá? v. 3 pp. 106-107

... The objective of learning may, for instance, not be the precision in a specific number of tasks,
but the spontaneity of the total organism of the soldier and the spontaneous coordination of
interaction between all the members of a platoon.
Who Shall Survive? p. 542
Fundamentos de la Sociometria p. 364
Quem Sobreviverá? v. 3 p. 108

LEARNING/WARMING UP
... According to spontaneity hypothesis it is assumed that learning connected with highly warmed
up states establishes special associations.
Who Shall Survive? p. 540
Fundamentos de la Sociometria p. 361
Quem Sobreviverá? v. 3 p. 104

LIVING NEWSPAPER
... One method is the dramatized of living newspaper technique which I started twenty years ago in
the Viennese Stegreiftheater. It was a novel project, a synthesis between the newspaper and the
drama. Among the forms of writing, the newspaper comes nearest to being a spontaneous expression
and to fulfilling – in a trivial and limited way – what we mean by the concept of the moment. It is tied
up with the present.
Psychodrama v. 1 p. 356
Psicomúsica y Sociodrama p. 145, Horme
Psicodrama p. 415

At first I used the term, living newspaper (Lebendige Zeitung), which was changed later to the
more appropriate term “Dramatized Newspaper” (Die Dramatizierte Zeitung). ... (It is a synthesis
between drama and newspaper, therefore it differs in essence from the medieval and Russian custom
of a spoken newspaper. The dramatized newspaper is not a recital of news, life itself is enacted. The
events are dramatized.
Psychodrama v. 1 p. 356 (footnote)
 Psicomúsica y Sociodrama p. 145, Horme
Psicodrama p. 415 (nota de rodapé)

... It has therefore a natural affinity to the form of the spontaneous drama, which requires for its
unrehearsed, immediate form an equally spontaneous and immediate content, for instance the ever
new and ever changing social and cultural events which are flashed from moment to moment to the
editorial office of a newspaper.
Psychodrama v. 1 p. 357
Psicomúsica y Sociodrama p. 145, Horme
Psicodrama p. 416

... Three factors had to be considered in the dramatized newspaper production. First, the localities
where the events took place and the personages involved in them. Second, a cast of impromptu
reporters who had to get into contact with them whenever possible, and bring, or transfer the news to
us. Third, a set of impromptu actors who were able to portray on the spot the roles and situations
which had just occurred.
Psychodrama v. 1 p. 357
Psicomúsica y Sociodrama p. 146, Horme
Psicodrama p. 416

The dramatized or “living” newspaper is a presentation of the news of the day as it occurs. It is the
synthesis between the spontaneity theatre and a newspaper. The intention is to make the expression on
the stage spontaneous in form (impromptu) as well as in comment (the news of the day). The
dramatized newspaper has another asset from the point of view of an art of the moment: the absolute
evidence of true spontaneity it has for the onlookers – and not simply for the actors, as in some forms
of the spontaneity theatre – because of the daily news character of the material projected.
Theatre of Spontaneity p. 38
El Teatro de la Espontaneidad p. 72
Teatro da Espontaneidade p. 52

... In this sense, the dramatized newspaper launched in Vienna was a genuine anticipation of the
“Movietone News”, the “March of Time”, the “Living Newspaper” of the WPA, and the modern
radio news broadcast. However, the conserve character of these mechanical forms is in utter
contradiction to the spontaneity principle and, in this sense, the “Movietone News” and the “March of
Time” are not as revolutionary as they seem; the deceptive impression arises from the technical
apparatus, whether film, radio or whatever. They must therefore be regarded as replicas of
conventional expression.
Theatre of Spontaneity p. 38 (footnote)
El Teatro de la Espontaneidad l p. 72 (notas)
Teatro da Espontaneidade p. 52 (nota de rodapé)

LIVING NEWSPAPER/DISUSE
... But the living newspaper technique, after a few years of nation-wide popularity, in the form of
the March of Time and as a W.P.A. project, came to a dead end in 1940. It would be interesting to
point out the causes which brought a valuable sociodramatic invention to disuse.
Psychodrama v. 1 p. 357
Psicomúsica y Sociodrama pp. 146-147, Horme
Psicodrama p. 416

LIVING NEWSPAPER/HISTORY
... My discouragement at continuing a purely spontaneous theatre reached its highest crisis when I
recognized that my best spontaneity actors – Peter Lorre, Hans Rodenberg, Robert Müller and others
– slowly turned away from the theatre of spontaneity and joined the “normal” theatre and the cinema.
Confronted with this dilemma, I attempted first “The Living Newspaper”; this is a synthesis
between theatre and newspaper, therefore genuinely different from the medieval and Russian custom
of an oral and spoken newspaper. The “dramatized newspaper” is not a recitation, life itself is
enacted. The events are dramatized.
Theatre of Spontaneity p. b
El Teatro de la Espontaneidad p. 14
Teatro da Espontaneidade pp. 9-10

LIVING NEWSPAPER/PRESS REACTION

The press reaction was reserved and sarcastic as is usual with a novelty. However, one factor was
appreciated in the reports, - the spontaneity of the players. There was no playwright and no script. It
is in this point that the March of Time as well as the W.P.A. living newspaper project have deviated
from my original concept. They trivialized and distorted it. Admittedly, spontaneity playing is a
difficult task. ... As soon as the living newspaper is used as a frame for writing a nice and polished
play all the conventional trappings of the theatre automatically come back into operation. ... A living
newspaper, once produced and repeated before many audiences like any other play, conflicts with the
fact that there are hundreds of other versions of the same events and problems which are not brought
to the experience of the spectators. The spectators, instead of being educated to become more
spontaneously receptive are – by a detour to the conserve – indoctrinated by the old time rigidity and
inflexibility which the living newspaper wanted to overcome.
Psychodrama v. 1 p. 358
Psicomúsica y Sociodrama pp. 148-149, Horme
Psicodrama pp. 417-418

Our first experiments with the Living Newspaper in America in the Guild Theatre occasioned the
following reactions in the press:
New York Evening World Telegram, March 28, 1931 (Douglas Gilbert): “To obviate the suspicion
of previous rehearsals Dr. Moreno’s troupe will dramatize news events of the day.”
New York Times, April 6, 1931: “The first endeavor was to be a newspaper drama and the master
explained the situation and assigned the parts swiftly.”
New York Telegraph, April 7, 1931 (Stanley Chapman): “The impromptu players will present a
spontaneous dramatization of a newspaper. Presently all the members of the impromptu came on the
stage and the doctor told them off for parts. He designed one as the owner of a newspaper, another as
the city editor and another as the advertising manager.”
New York Evening Post, April 6, 1931 (John Mason Brown): “You are now in the main office of a
newspaper. Yes, in the main office of The Daily Robot, waiting for news.”
THE MODERN AMERICAN THEATRE (THE LIVING THEATRE, 1950-1960, THE OPEN
THEATRE, 1963, GUERILLA THEATRE, THEATRE OF THE STREETS, THEATRE GAMES,
LIQUID THEATRE, ETC. 1963-1972)
Theatre of Spontaneity p. c
El Teatro de la Espontaneidad pp. 16-17
Teatro da Espontaneidade p. 11

LOCOGRAM
Let us visualize first the layout of the house and its metric picture. (See Locograma I).
Psychodrama v. 2 p. 138
Las Bases de la Psicoterapia p. 228
Fundamentos do Psicodrama p. 155

Locogram is a position diagram in which the locus of the participants and the movements from one
locus to another is the dominant feature.
Psychodrama v. 2 p. 158
Las Bases de la Psicoterapia p. 259
Fundamentos do Psicodrama p. 175

LOCUS
LOCUS/LOCUS NASCENDI
... It is not necessary, indeed it is undesirable to give every moment in the development of a person
the credit of spontaneity. From time to time moments spring up which become locii nascendi which
push that person into a new track of experience or as I often say, into a new “role”.
Psychodrama v. 1 p. 103
Psicodrama Espanhol p. 152
Psicodrama p. 154

... The primary place of experience, the place or birth, is the locus nascendi of the theatre.
Theatre of Spontaneity p. 89
El Teatro de la Espontaneidad p. 154
Teatro da Espontaneidade p. 105

LÓCUS/LÓCUS/MATRIX/STATUS NASCENDI
“In a philosophy of the Moment three factors to be emphasized: the locus, the status nascendi, and
the matrix. These represent three views of the same process. There is no ‘thing’ without its locus, no
locus without its status nascendi, and no status nascendi without its matrix. The locus of a flower, for
instance, is in the bed where it is growing. Its status nascendi is that of a growing thing as it springs
from the seed. Its matrix is the fertile seed, itself. Every human act or performance has a primary
action-pattern – a status nascendi. An example is the performance of eating which begins to develop
the role of the eater in every infant soon after birth. The pattern of gestures and movements leading up
to the state of satiation is, in this instance, the warming-up process”. See Moreno, J. L., “Foundations
of Sociometry”, Sociometry, vol. 4, no 1, 1941. These principles can be applied to the origin of the
human organism. The locus nascendi is the placenta in the mother’s womb; the status nascendi is the
time of conception. The matrix nascendi is the fertilized egg from which the embryo develops. The
initial phase of a living process has been greatly neglected as compared with more advanced phases
and the terminal phase. It has been a chief contribution of spontaneity and creativity research that the
conception process of, for instance, the Ninth Symphony of Beethoven is of, at least equal, if not
greater, importance than the “birth” of the work. When dealing with a living organism, we are turning
our attention from the level at birth back to the level of conception itself. Methods for the direct study
of the embryo in its intra-uterine environment are coming nearer to the orbit of technical fulfillment.
Motion pictures of embryonic life throughout the nine months of pregnancy are necessary in order that
we may get a view of his responses from stage to stage. It may be that some technical apparatus will
be forthcoming in the form of a type of moving X-ray pictures combining the techniques of the moving
picture with those of X-ray photography.
Psychodrama v. 1 p. 55 (footnote)
Psicodrama Espanhol p. 95 (nota)
Psicodrama pp. 105-106 (nota de rodapé)

LOGOID
... In a universe closed to novelty the category of the moment is meaningless, it is only a word, a
“logoid”.
Psychodrama v. 1 p. 103
Psicodrama Espanhol p. 152
Psicodrama pp. 154-155

“Logoid” is a term coined by Adolf Stöhr, the late professor of Philosophy, University of Vienna,
and probably the father of Semantics, see his “Psychology” (chapter – Sprach logik”) Deutiche,
Leipzig 1912.
Psychodrama v. 1 p. 103 (footnote)
Psicodrama Espanhol p. 152 (notas)
Psicodrama p. 155 (nota de rodapé)

LONGEVITY
LONGEVITY/PREVENTING LONGEVITY
… Instead of countering overpopulation by prevention of conception and birth control we could
just as well contravene by “preventing longevity”.
Who Shall Survive? p. 608
Fundamentos de la Sociometria p. 419
Quem Sobreviverá? v. 3 p. 177

Man has learned to defer and hinder birth but the question is whether mass prevention is not
dangerous manipulation with the two greatest factors operating in human evolution – the factor of
chance and the factor of spontaneity – creativity.
Who Shall Survive? p. 609
Fundamentos de la Sociometria p. 420
Quem Sobreviverá? v. 3 p. 179
M

MAGIC
... It was the destiny of the scientific mind to destroy magic beliefs and to pay with a loss of
spontaneity, imagination and a divided philosophy of life.
Psychodrama v. 2 p. 154
Las Bases de la Psicoterapia p. 253
Fundamentos do Psicodrama p. 171

18. The technique of transformation, subordination and realization have been used in many magic
rites of ancestral cultures in order to encounter the various threats of nature or to explain its activities.
Our children too, before they grow up and are able to understand the methods of an adult world, have
a natural need to use the methods described above.
Psychodrama v. 2 p. 157
Psicoterapia de Grupo y Psicodrama p. 257
Psicoterapia de Grupo e Psicodrama p. 239

MAGIC/PSYCHODRAMA AS MAGIC
... The auxiliary ego technique itself is a form of primitive “psycho”-animism. The techniques of
the animistic philosopher rejected by analytic anthropologists as infantile magic is returning on the
therapeutic level and has been made productive in psychodrama.
Psychodrama v. 2 p. 155
Psicoterapia de Grupo y Psicodrama p. 255
Psicoterapia de Grupo e Psicodrama p. 237

MAGIC/SCIENCE VERSUS MAGIC

... It was the destiny of the scientific mind to destroy magic beliefs and to pay with a loss of
spontaneity, imagination and a divided philosophy of life. But the cycle will repeat itself although we
cannot return to the magic world of our ancestry. We will produce a new magic on a new level.
Psychodrama v. 2 p. 154
Psicoterapia de Grupo y Psicodrama pp. 254-255
Psicoterapia de Grupo e Psicodrama p. 237

MAN/MANKIND
Neither the laws of chance nor the laws of heredity can account for the birth of human society. Nor
can economics account for it. New factors have been discovered, tele, spontaneity and creativity.
Who Shall Survive? p. 379
 Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 2 p. 235

MAN/MANKIND/HOW TO STUDY
... We need to study human nature not only in the aspect of its past, not only from the aspect of its
consciousness or unconsciousness, bur from the aspect of the actual presence of the powerful,
psychological currents in whose production each man participates, as however infinitely small an
agent.
Who Shall Survive? p. 440
Fundamentos de la Sociometria p. 291
Quem Sobreviverá? v. 2 p. 286

The concept underlying this approach is the recognition that man is a roleplayer, that every
individual is characterized by a certain range of roles which dominate his behavior, and that every
culture is characterized by a certain set of roles which it imposes with a varying degree of success
upon its membership.
Who Shall Survive? p. 88
Fundamentos de la Sociometria p. 81
Quem Sobreviverá? v. 1 p. 189

MAN/MANKIND/HUMAN PERSON
... The human person is the result of hereditary forces (g), spontaneous forces (s), social forces (t),
and environmental forces (e), according to this formula, social forces are differentiated from
environmental forces. Sociometric investigations and the development of the tele factor have shown
this distinction to be of advantage from the point of systematics.
Psychodrama v. 1 p. 83 Supplementary Note
Psicodrama Espanhol p. 128
Psicodrama p. 134 – (nota suplementar)

MARTIN BUBER
Martin Buber was acquainted with my early work; he was a contributor to Daimon, a monthly
magazine of which I was the editor, 1918-1920.
Who Shall Survive? p. xxxi Preludes, (footnote)
Fundamento de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 37 Prelúdios, (nota de rodapé)

MATRIX OF IDENTITY
SEE ALSO LOCUS/LOCUS/MATRIX/STATUS NASCENDI
This co-being, co-action, and co-experience, which, in the primary phase, exemplify the infant’s
relationship to the persons and things around him, are characteristics of the matrix of identity. This
matrix of identity lays the foundation for the first emotional learning process of the infant.
Psychodrama v. 1 p. 61
 Psicodrama Espanhol p. 102
Psicodrama p. 112

... We have, then, two phases of the matrix of identity: first, the phase of identity or unity as in the
eating act, and, second, the phase of using that experience in the reversing of identity.
Psychodrama v. 1 p. 62
Psicodrama Espanhol pp. 102-103
Psicodrama pp. 112-113

The matrix of identity is the infant’s social placenta, the locus in which he roots. It gives the human
infant safety, orientation and guidance. ... The matrix of identity breaks up gradually as the infant
becomes more autonomous – that is, some degree of self-starting develops in one function after the
other, such as in feeding, eliminating, reaching, and locomotion; his dependency upon auxiliary egos
begins to decrease. The first universe ends when the infantile experience of a world in which
everything is real begins to break up into fantasy and reality. Image-building develops rapidly, and
the differentiation between real and imagined things begins to take form.
Psychodrama v. 1 p. 64
Psicodrama Espanhol p. 105
Psicodrama pp. 114-115

... In the earliest phase of the matrix of identity, nearness and distance are not yet differentiated by
the infant. But gradually the sense for nearness and distance develops and the infant begins to be
drawn towards persons and objects or to withdraw from them. This is the first social reflex –
indicating the emergence of the tele-factor, and is the nucleus of the latter attraction-repulsion patterns
and specialized emotions – in other words, of the social forces surrounding the latter individual.
Psychodrama v. 1 p. 68
Psicodrama Espanhol p. 110
Psicodrama p. 119

MATRIX OF IDENTITY/TIMING/AMNESIA
... This undivided absorption of the infant in the act to which it is warming up is the basic reason
why the two dimensions of time, the dimension of the past and the dimension of the future, are
undeveloped, or at best, rudimentary. It is the past in which we store our memories, and it is the
future which may profit from their registration. ... The infant develops intermittently, so to speak, a
retroactive amnesia even for the slight amount of registration of acts and events which he has been
able to retain. ... We must conclude that the recurrent retroactive amnesias of the infant sum up to the
total amnesia effect which the older child and the adult have for the first three years of their lives.
Psychodrama v. 1 pp. 65-66
Psicodrama Espanhol p. 108
Psicodrama p. 117

MATRIX OF IDENTITY/DELUSIONS
It is probable that the material tapped by sociometric and action perception tests can give us
important clues as to the development of delusions and hallucinations in the mental patient. The
messages and signals which the patient “sends out” and “receives” can draw their inspirations from
the tele and action matrices which have developed since early childhood.
Who Shall Survive? p. 328
Fundamentos de la Sociometria p. 219
Quem Sobreviverá? v. 2 p. 192

MEETING
“Meeting” means more than a vague inter-personal relation (zwischen-menschliche Beziehung). It
means that two or more persons meet, but not only to face one another, but to live and experience each
other, as actors each in his own right, not like “professional” meeting (a case-worker or a physician
or a participant observer and their subjects), but a meeting of two people.
Psychodrama v. 1 p. 251
Psicodrama Espanhol p. 337
Psicodrama pp. 307-308
ÍDEM EM
Quem sobreviverá v. 1 p.169
Fundamentos de la sociometria p. não há
Who Shall Survive? p. 65

A meeting of two: eye to eye, face to face.

And when you are near I will tear your eyes out
and place them instead of mine,
and you will tear my eyes out
and will place them instead of yours,
then I will look at you with your eyes
and you will look at me with mine.
Psychodrama v. 1 first page
Psicodrama Espanhol p. 17
Psicodrama p. 9

MEGALOMANIA
Every child has a wonderdrug at his disposal, prescribed to him by nature itself, Megalomania
“Normalis” Dosim Repetatur.
The centrality of man’s outlook, his self-reference, that is, reference to his “matrix of identity”(1)
never ceases to operate. He remains a child as long as he lives. “Residual” megalomania is a normal
function.
Psychodrama v. 2 p. 139
Psicoterapia de Grupo y Psicodrama pp. 238-239
Psicoterapia de Grupo e Psicodrama p. 225

MEGALOMANIA/NORMAL FUNCTION
The centrality of man’s outlook, his self-reference, that is, reference to his “matrix of identity”(1)
never ceases to operate. He remains a child as long as he lives. “Residual” megalomania is a normal
function.
Psychodrama v. 2 p. 139
Las Bases de la Psicoterapia p. 230
Fundamentos do Psicodrama p. 156

MEMORY
18. The infant is so immersed in the act that he has no memory of it after has been consummated. As
the intensity of the act hunger syndrome decreases, the memory range of the child increases.
Psychodrama v. 2 pp. 156-157
Psicoterapia de Grupo y Psicodrama p. 257
Psicoterapia de Grupo e Psicodrama p. 239

A child between two or three may not be able to understand when a parent says to him: “You
shouldn’t do that. Don’t hit the dog. Don’t run after the cat. You frighten her.” Such words are often
meaningless and remain without impression. We have to remember that the child has his memory in
the act and not in his memory (1). ... If an indication for psychodrama arises the mother may go behind
the dog and say: “It hurts me when you kick me” or back of a running cat: “Meow, you frighten me
when you run after me” or she will use it as a preventive method. ... All this is good action teaching.
The question may be raised as to the potential risk of “auxiliary animation”. One may argue that it
indoctrinates and fixes the child on a level of animistic thinking, encouraging regressive and infantile
behavior. The answer here is that we should not let adult interpretations interfere with what is the
actual, spontaneous level of the child’s feeling, thinking, perception during a given period of his
growth. He may be unable yet to accept the world around him as it is, within the reality context of the
adult.
Psychodrama v. 2 p. 151
Psicoterapia de Grupo y Psicodrama pp. 250-251
Psicoterapia de Grupo e Psicodrama pp. 234-235

MEMORY/SPONTANEITY
... But as a matter of fact many significant spiritual, poetic and dramatic ideas and products go
astray if their originators are disinclined to produce works dedicated to cultural conservation, like
books; if they have, so to speak, a preference for illegitimate children. In the place of the organizing
memory of the poet enters the moment of the adventurer.
Theatre of Spontaneity p. 80
El Teatro de la Espontaneidad p. 143
Teatro da Espontaneidade p. 97

16. The shorter the memory span, the greater the frequency of starts and every start requires some
spontaneous fuel in order to emerge. This explains the apparently uninterrupted spontaneity of
children. In lieu of memory they have spontaneity.
Psychodrama v. 2 p. 156
Las Bases de la Psicoterapia p. 256
 Fundamentos do Psicodrama p. 173

MENTAL HEALTH
When the organization of a group is uncovered through the sociometric test it also reveals the
contribution which each of its members makes towards the mental or social disorder by which a
particular individual is especially caught. This recognition of the community structure and of the
position of each individual within it can be used for therapeutic ends through a form of individual
treatment, through group psychotherapy or through regrouping.
Who Shall Survive? p. 530
Fundamentos de la Sociometria p. 353
Quem Sobreviverá? v. 3 p. 94

... Regardless of whether they have transgressed the law or not, these girls have in common with
many others who remain unapprehended, that they develop a comparatively larger emotional
expansiveness in reference to sex than to other criteria, without, at the same time, being able to direct
their emotions. As the difficulties arise in relation to the other sex, the problem is one of emotional
learning; how to behave towards the other sex. But for this particular problem in adjustment no
therapeutic approach exists either in our institutions or other schools.
Who Shall Survive? p. 532
Fundamentos de la Sociometria p. 355
Quem Sobreviverá? v. 3 p. 96

MENTALLY RETARDED GROUP

19. Mentally retarded children show “retarded” group structures more frequently than average
children. By retarded group structures we mean such structures which show a sociometric
organization resembling those which are found among children one or more years younger, for
instance, showing a “persistent” rarity of pair formation and of many unreciprocated choices, with a
large number of isolates.
Who Shall Survive? p. 702
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 192

METAPHYSICS
... Metaphysics is the point of view of the thing which is created, the point of view of the
creature. The Meta of the Physicist should be held apart from the Meta of the Non-Physicist. Bios,
Psyche and Socius (Meta biology, Meta psychology, Meta sociology), may require a differently
constructed “Ding an sich” than physical matter.
Theatre of Spontaneity p. 34
El Teatro de la Espontaneidad Espanhol p. 67
Teatro da Espontaneidade p. 48

Metaphysics is the prescription for experience. It is a court procedure in which the sciences take
the place of the advocates—metaphysics the place of the judge
... millions of imagined worlds are equally possible and real, of equal value as the world in which
we live and for which metaphysics is constructed. It consists of generalizations which refer to all the
special manifestations of non-existence.
Theatre of Spontaneity pp. 34-35
El Teatro de la Espontaneidad Espanhol pp. 67-68
Teatro da Espontaneidade p. 49

METAPRAXIS
Metapraxie however, is not a key to experience, it is the creator of it, it is only without and outside
of fixed experience, it is the locus of the world potential.
... It is not like metaphysics, the core of actual science and being. The polarity and contrast
between thing in itself and phenomena on one hand, or between phenomena and creativity on the
other, is dissolved.
... But the contents of metapraxie are only the creative processes themselves. They are not subject
to development, to cause and effect, to the rules of induction and deduction. Metapraxie is neither a
dogmatic nor a critical philosophy, it is a philosophy of pure creation.
Metapraxie as a system of imminent mystery cannot be expressed. It is neither logical nor anti-
logical, neither psychological nor anti-psychological, neither physical nor antipsysical, neither
empirical nor anti-empirical, it is unperceivable, undifferentiated, unreasonable. It is not possible in
this world, but only after its elimination.
Our world is to the meta practitioner like a drawing on a blackboard,...
... The fact that the world-drawing disappears when we dream it away is perfectly satisfactory
from the point of view of Metapraxie.
The polarity between reality and illusion is indispensable to metapraxie, the illusion of a real
world is just as important as the reality of an illusionary world. It is the highest triumph of
imagination and creativity to change the surface of the world in such a fashion that it appears
beautiful, however much being and pain of being may continue to exist underneath.
In order to gain a system of metapraxie we must remove all phenomenology, all beings, all things,
all objects, including the illusions, dreams, visions and arts, because they, being tainted with
experience, are mixed products and therefore moralistic, psychological, esthetic and not
metapractical. After all phenomena and its trappings have been removed, what remains is metapraxie.
In the sense for instance, of a metapractical idea of language (this would be a sort of metapractical
logic) all the phenomena of natural languages be banished. A being who directs his attention to the
highest plane of language could not express himself in the languages which nature has developed. He
would be fully expressive by signs and gestures or he would rather resign from any mode of
communication.
Theatre of Spontaneity pp. 34-35-36
El Teatro de la Espontaneidad pp. 67-69
Teatro da Espontaneidade pp. 49-50

Metapraxie is the life of imagination and creation, the production of infinite personal entities.
... Metapraxie is the place in which our eternal question of the freedom of the will is adequately
answered.
 Theatre of Spontaneity p. 36
El Teatro de la Espontaneidad p. 70
Teatro da Espontaneidade p. 50

Spontaneous role-playing gives the “meta-practical proof” of a realm of freedom, illusion is

strictly separated from reality. But there is a theatre in which reality or being is proven through
illusion, one which restores the original unity between the two meta-zones – through a process of
humorous self reflection; in the therapeutic theatre reality and illusion are one.
Psychodrama v. 1 p. 27
Psicodrama Espanhol p. 56
Psicodrama p. 76

METATHEATER
... In the theatre for spontaneity the whole community is present. It is the theatre of the community. It
is a new kind of institution, the institution which celebrates creativity. It is the place where life is
tested, the strong and the weak, - by play. It is the place of truth without might.
... It is the theatre of all, the twilight of being and reality...
... it is not the theatre of one man; it is the theatre of all and for all. In the theatre all men are stirred
up and they move from the state of consciousness to a state of spontaneity, from the world of actual
deed, actual thoughts and feelings, into a world of fantasy which includes the reality potential.
Theatre of Spontaneity p. 31
El Teatro de la Espontaneidad pp. 62-63
Teatro da Espontaneidade pp. 45-46

METHOD
METHOD/FUTURE PROJECTION
The patient portrays in action how he thinks his future will shape itself. He picks the point in time
— or is assisted by the director to do so — the place and the people, if any, whom he expects to be
involved with at that time.
The patient is studying to be an English major and has his bachelor’s degree; he has been working
on his M.A. for almost eight years, is unable to complete it. The future projection shows him tree
years hence teaching his first course in English at the university. The entire audience is his class he is
asked to face them with the beauty of the English language.
Moreno, J. L. “Psychodramatic Rules, Techniques and Adjunctive methods” in Group
Psychotherapy, v. xviii, nº1-2, March-June, 1965, pp. 81-82.
Psicoterapia de Grupo y Psicodrama pp. 139-140 (similar)
Psicoterapia de Grupo e Psicodrama p. 124 (similar)

METHOD/DEEP ACTION METHODS

... Even if full information could be attained by observation and analysis, it has become certain that
observation and analysis are inadequate tools for exploring the more sophisticated aspects or inter-
cultural relations, and that deep action methods are indispensable. Moreover the latter have proven to
be of indisputable value and unreplaceable because they can, in the form of the sociodrama, explore
as well as treat in one stroke, the conflicts which have arisen between two separate cultural orders,
and at the same time, by the same action, undertaking to change the attitude of the members of one
culture versus the members of the other.
Psychodrama v. 1 p. 356
Psicomúsica y Sociodrama p. 144, Horme
Psicodrama p. 415

METHOD/PSYCHODRAMATIC METHOD
The psychodramatic method rests upon the hypothesis that, in order to provide patients, singly or in
groups, with a new opportunity for a psychodynamic and sociocultural reintegration, “therapeutic
cultures in miniature” are required, in lieu or in extension of unsatisfactory natural habitants. Vehicles
for carrying out this project are (1) existential psychodrama within the framework of community life
itself, in situ, and (2) the neutral, objective, and flexible therapeutic theater.
Psychodrama v. 1 p. xxii
Psicodrama Espanhol p. não há
Psicodrama p. 48

METHOD/SPONTANEOUS IMPROVISATION
Spontaneous Improvisation is a technique in which the patient does not enact events from his own
life, but acts in fictitious, imagined roles. Here an auxiliary ego has a double function. On the one
hand as a starter to get the patient working in a particular role, on the other as a participant actor in a
role which the situation demands.
Psychodrama v. 1 p. 201
Psicoterapia de Grupo y e Psicodrama p. 300
Psicoterapia de Grupo e Psicodrama p. 284

In spontaneous improvisation, the task is in one respect the reverse of that in self-presentation.
Here the subject tries to prevent his private character from interfering and from mixing with the
fictitious character. The struggle, competition, and eventual collaboration of the two, the private and
the fictitious character, is visible in every portrayal.
Psychodrama v. 1 p. 202
Psicoterapia de Grupo y e Psicodrama p. 301
Psicoterapia de Grupo e Psicodrama p. 285

MIRROR TECHNIQUE/DEVELOPMENT STAGES

Let us know go to the second technique, which is also so important for the therapist. This is the
mirror technique. You’ve often seen the great experience of children looking into the mirror, infants,
you know, and then you hear that surprised laughter, that astounded look! And this is a great
experience to them. When the child realized that the picture in the mirror is a mirror of him, that is the
turning point in his growth — an important turning point in his concept of self.
Moreno, J. L. – “Psychodramatic Production Techniques”, p. 245 in Group Psychotherapy,
viv, nº 4, March, 1952.
 Psicoterapia de Grupo y Psicodrama (Spanish) pp. 122-123
Psicoterapia de Grupo e Psicodrama (Portuguese) p. 108

MITTENDIRF-
MITTENDIRF/THE FIRST SOCIOMETRIC PLAN
The first sociometric plan of a population was constructed by me between 1915 and 1918.
Who Shall Survive? p. xxxii Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 37 Prelúdios

... The government was concerned with three problems and reflected them into the planning: safety
from the enemy, sanitation, and subsistence. However, social and psychological planning was not
considered, not even conceived of. A staff of which I was a member was appointed by the
government to supervise the problem of sanitation in the new community. In this position and later as
superintendent of the children’s hospital established within it, I had the opportunity to study this
community from its earliest beginning to its final dissolution three years later when at the end of the
war the colonists returned to their homes in Tyrol. During this period a whole community life
developed. Step by step, hospitals, schools, church, theater, department stores, shops, industry, social
clubs, newspaper, came into function. Yet, in the face of an attempt of the government to meet the
emergency and notwithstanding the establishment of practically all the outward signs of a community
life, there was great unhappiness and friction among the population. Whole villages of wine growers
were transplanted into a suburban industrial district, mountaineers from Tyrol into a flat spot of
country near Vienna. They were thrown together unselected, unaccustomed to the environment,
unadjusted within themselves. I studied the psychological currents they developed around varying
criteria – the criterion of nationality, of politics, of sex, of staff versus colonists, and so on – and
considered them as the chief contributory sources of the flagrant maladjustments and disturbances. It
was through this experience that the idea of a sociometrically planned community began to occupy
me.
Who Shall Survive? p. xxxii–xxxiii Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 39 Prelúdios

MOMENT
The theatre for Spontaneity has no relation to the co-called Stanilavski method. … He limited the
factor of spontaneity to the re-activation of memories loaded with affect. This approach tied
improvisation to a past experience instead of to the moment. But as we know it was the category of
the moment which gave spontaneity work and the psychodrama its fundamental revision and direction.
Psychodrama v. 1 pp. 38-39
Psicodrama Espanhol p. 72
Psicodrama p. 88
... In a universe closed to novelty the category of the moment is meaningless, it is only a word, a
“logoid”. The category of the moment has meaning only in an open universe, that is, in one in which
change and novelty can take place. In a closed universe, to the contrary, there is no moment and with
its absentia there is no grown, no spontaneity and no creativity.
Psychodrama v.1 p. 103
Psicodrama Espanhol p. 152
Psicodrama pp. 154-155

In order that the moment is experienced as a moment sui generis, the following circumstances are
required: (a) A change must take place in the situation; (b) the change must be sufficient for the
experience of novelty to be perceived by a subject; (c) this perception involves activity from the side
of the subject, an act of warming up to a spontaneous state. In other words, it is due to the operation
of an s factor that a change can take place in the situation and that a novelty is perceived by a
subject. A theory of the moment is indissoluble from a theory of spontaneity. In a theory of human
behavior and motivation the central place must be given to spontaneity.
Psychodrama v. 1 p. 104
Psicodrama Espanhol p. 153
Psicodrama p. 155

One of the most important concepts in all human thought, the category of the moment – the moment
of being, living and creating – has been the step-child of all universally known philosophical systems.
The reasons for this are that the moment is difficult to define; that it has appeared to most
philosophers as but a fleeting transition between past and future, without real substance; that it is
intangible and unstable and therefore an unsatisfactory basis for a system of theoretical and practical
philosophy.
Psychodrama v. 1 pp. 104-105
Psicodrama Espanhol pp. 153-154
Psicodrama pp. 155-156

MOMENT/HENRY BERGSON
... To Henri Bergson, for one, goes the honor of having brought the principle of spontaneity into
philosophy (although he rarely used the word), at a time when the leading scientists were adamant
that there is no such thing in objective science. But his “données immediates”, his “élan vital” and
“durée” were metaphors for the one experience which permeated his life’s work – spontaneity – but
which he vainly tried to define. There is no “moment” in his system, only durée. “Duration is not one
instant replacing another … duration is a continuous progress of the past which gnaws into the future
… the piling up of the past upon the past goes on without relaxation.” Bergson’s universe cannot start
and cannot relax, it is a system in which there is no place for the moment. ... But without the moment
as locus nascendi, a theory of spontaneity and creativity threatens to remain entirely metaphysical or
to become entirely automatic.
Psychodrama v. 1 pp. 8-9
Psicodrama Espanhol pp. 30-31
Psicodrama pp. 57-58

MORENO
MORENO/DENYING ANY KIND OF FATHERS
My premise before starting to build the theoretical framework of sociometry was to doubt the value
of and discard all existing social concepts, not to accept any sociological hypothesis as certain, to
start from scratch, to start as if nothing would be known about human and social relations. It was a
radical pushing out, from my consciousness at least, all knowledge gained from books and even from
my own observations. I insisted upon this departure not because I did not assume that other scholars
before me had excellent ideas, but because their observations were in most cases authoritative
instead of experimental. The naivete, therefore, with which I went after my objectives was not that of
a man who as ignorant of what other scholars have done before him, but that of one tries to be
ignorant in order to free himself from clichés and biases, in hope that by warming up to the role of the
naive he might be inspired to ask a novel question.
Who Shall Survive? p. 92
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 193

MORENO/MORENO’S INVENTIONS/VEHICLES ABD GRAPHIC

INVENTIONS
Spontaneous interaction diagram (1923); sociogram (1932); psychodrama stage (1923); space and
movement diagram (1923); sociomatrix (Sociometry, Vol. I, 1937, p. 108), further developed by
Stuart C. Dodd (Sociometry, Vol. III, 1940).
Who Shall Survive? p. 724
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 219

MORENO/U.S.A.
… 1) they were open, that is, problems which the audience members raised were presented on the
stage before them, personal and social conflicts which heretofore were hidden in a consultation office
were brought out into the open; and 2) spontaneous participation of the audience.
Who Shall Survive? p. xlii Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 47 Prelúdios

The sociometric movement had, during its pioneering period in the USA, six helpers: William H.
Bridge, E. Stagg Whitin, Helen H. Jennings, William Alanson White, Fanny French Morse and
Gardner Murphy. Bridge, a professor of speech at Hunter College, was the first to teach psychodrama
in his classes and other places. Whitin established the support of the Departments of Correction and
Social Welfare; without him the Hudson and Brooklyn experiments would not have come into
existence. Jennings assisted me in the completion of the research; without her it might have been
delayed indefinitely. Her personality as well as her talents have exercised a decisive influence upon
the development of sociometry. Without White psychiatrists would not have given my ideas a
respectful hearing. Without Mrs. Morse the ongoing experiment in Hudson might have been nipped in
the bud by her Board of Visitors. Without Murphy the acceptance of sociometry by social scientists in
the colleges and universities might have been delayed by a decade.
Who Shall Survive? p. xliii Preludes
 Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 47 Prelúdios

MOMENT/THEATER/IMPROVISATION
... Impromptu alone is by nature so rapid that it can project news on the stage. When a playwright
writes a play about news, that news has already lost the thrill of immediacy and actuality. But in
Impromptu both poles meet – the Moment in life and the Moment within the creator.
Psychodrama v. 1 p. 43
Psicodrama Espanhol p. 77
Psicodrama p. 92

MORENO’S INVENTIONS/VEHICLES ABD GRAPHIC

INVENTIONS
Spontaneous interaction diagram (1923); sociogram (1932); psychodrama stage (1923); space and
movement diagram (1923); sociomatrix (Sociometry, Vol. I, 1937, p. 108), further developed by
Stuart C. Dodd (Sociometry, Vol. III, 1940).
Who Shall Survive? p. 724
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 219

MOTHER
MOTHER/AS AN AUXILIARY EGO
Differing from the organs (hands, tongue, etc.) which are fixed to his body, and which are at his
immediate disposal in an emergence, the mother with all her auxiliary ego tools is fully detached and
independent from him. She moves away from him, abandoning him, but returns to him when his
anxiety is manifest. It is a peculiar shock in the experience of the growing infant to discover the
difference between attached and detached tools.
Psychodrama v. 1 p. 60
Psicodrama Espanhol p. 101
Psicodrama p. 111

MOTHER/RELATIONSHIP BETWEEN MOTHER AND CHILD

... The mother, also, has two functions; the one is that of acting in the role of a mother adequately;
the other one is that of developing a clear picture of the needs and rhythm of the infant in order that
she can warm up to his requirements to help him function adequately.
Psychodrama v. 1 p. 59
Psicodrama Espanhol p. 99
Psicodrama pp. 109-110

... This single hypothesis is based on the fact that the motherchild relationship is a two-way
relation involving cooperative action rather than individual behavior patterns separated from each
other.
 Psychodrama v. 1 p. 59
Psicodrama Espanhol p. 99
Psicodrama p. 110

MOTHER/ROLE OF MOTHER
... Since “the mother” is not a single role but a cluster of roles*, certain of its older manifestations
may be deeply disturbing to a child and so puzzling that she is not able to enact them; for other parts
she may have a true amnesia (not merely “forgetting” because of repression in the psychoanalytic
sense).
Psychodrama v. 1 p. 174
Psicodrama Espanhol p. 239
Psicodrama pp. 228-229

* The mother role might include a clustering of such roles as wife to the father, companion to him,
homemaker, nurse to the child, etc.
Psychodrama v. 1 p. 174 (footnote)
Psicodrama Espanhol p. 239 (nota)
Psicodrama p. 229 (nota de rodapé)

MOTION PICTURE
MOTION PICTURE/THERAPEUTIC PICTURE/AUDIENCE
Although the adequate production of a therapeutic film is important it has to be realized that the
main object of a therapeutic motion picture is not the production process but the treatment of
audiences.
Psychodrama v. 1 p. 390
Psicomúsica y Sociodrama p. 201, Horme
Psicodrama p. 451

... The audience is really the patient for whom the film is made, and the benefit it derives from it is
the final test of the film’s usefulness.
Psychodrama v. 1 p. 390
Psicomúsica y Sociodrama p. 201, Horme
Psicodrama p. 451

In the moment of presentation of a motion picture the production aspect of it sealed forever. There
is only one aspect which is human, changeable and in need of control, that is the audience. The
audience is the patient. The study of audience reactions and audience constellations should therefore
precede the production of pictures itself, as it is upon their requirements that the content of
productions depend.
Psychodrama v. 1 p. 389
Psicomúsica y Sociodrama p. 199, Horme
Psicodrama p. 450
 ... The audience must be built at times homogeneously around certain mental syndromes, father-son
conflicts, suicide conflicts, and so forth.
Psychodrama v. 1 p. 391
Psicomúsica y Sociodrama p. 201, Horme
Psicodrama p. 451

MOTION PICTURE/THERAPEUTIC PICTURE/AUDIO-EGOS

... The therapeutic value which it has the patients helping in the production by having helped
themselves, is small compared to the help which it should prove to millions of audio-egos.
Psychodrama v. 1 p. 390
Psicomúsica y Sociodrama p. 201, Horme
Psicodrama p. 451

MOTION PICTURE/THERAPEUTIC PICTURE/CAST

The cast, following the psychodramatic pattern, can consist of: a) actual patients for whom the
production of the film is a part of their treatment, assisted by a number of auxiliary egos, a type of
specialized, therapeutic actors (entirely unrelated to the conventional theatre or film) who portray the
complimentary roles which the patient or patients need in the course of the film story; b) a cast of
auxiliary egos, assisted by so-called informants, actual patients who are suffering from mental
syndromes to be enacted at the time of the film production, (or who are just coming out of this morbid
experience and are warmed up to a high degree of communicability) and for whom the process of film
production is a part of their treatment.
Psychodrama v. 1 p. 395
Psicomúsica y Sociodrama pp. 208-209, Horme
Psicodrama pp. 455-456

MOTION PICTURE/THERAPEUTIC PICTURE/CATHARSIS

... Action catharsis can never be replaced by spectator catharsis. It is in all cases only a
preparatory step for the former. ... One thing is clear enough, that action catharsis remains the focal
point of therapy.
The producer of a therapeutic picture must therefore bear in mind that as he cannot provide action
catharsis directly, he must do the most with the spectator catharsis.
Psychodrama v. 1 pp. 396-397
Psicomúsica y Sociodrama p. 211, Horme
Psicodrama p. 457

... But for a large number of subjects action catharsis must be provide by actual psychodramatic
sessions which will have to follow therapeutic motion picture projections.
Psychodrama v. 1 p. 396
Psicomúsica y Sociodrama p. 211, Horme
Psicodrama p. 457

The producer of a therapeutic picture must therefore bear in mind that as he cannot provide action
catharsis directly, he must do the most with the spectator catharsis. Audiences are his main frame of
reference, not just audiences in a generalized sense, but audiences of patients or, more broadly
speaking, of subjects, special audiences because of some cultural or mental syndrome.
Psychodrama v. 1 pp. 396-397
Psicomúsica y Sociodrama p. 211-212, Horme
Psicodrama p. 457

MOTION PICTURE/THERAPEUTIC PICTURE/CRITICISM

The psychodramatic approach to motion pictures has been in the networks for several years, but
experiments like “Lady in the Dark” or “Now Voyager” are not adequate try-outs. To the contrary,
they are abhorrent examples of a form of the drama neither fish nor flesh, neither entertainment nor
therapy, because they try to provide both.
Psychodrama v. 1 p. 392 (footnote)
Psicomúsica y Sociodrama p. 204, Horme (notas)
Psicodrama p. 453. (nota de rodapé)

MOTION PICTURE/THERAPEUTIC PICTURE/DEFINITION

In the last few years a number of motion pictures have been produced, as Lady in the Dark, Now
Voyager, Conflict, Love Letters, Spellbound, which represent a dabbling of the motion picture
industry with therapeutic (often with straight psychiatric) projects. ...
Therapeutic film is defined as a type of motion picture whose main object is the treatment of
audiences.
Psychodrama v. 1 p. 401 (footnote)
Psicomúsica y Sociodrama p. 217, Horme (notas)
Psicodrama p. 461 (nota de rodapé)

MOTION PICTURE/THERAPEUTIC PICTURE/DIRECTOR

... It may be desirable from time to time to project the psychodramatic director, as he himself enters
upon the stage and gives his comments in the interludes, if not in persona, at least as a voice, into the
film picture itself. The voice of the psychodramatic director may therefore be interwoven into the
total picture, the same way that he appears in a psychodramatic session, not only just commenting
analyzing and clarifying, but arousing to action, interrupting and ending, often using methods of
aggression, commanding, taking upon himself several roles which form the background of the scenes
themselves.
Psychodrama v. 1 p. 391
Psicomúsica y Sociodrama pp. 201-202, Horme
Psicodrama p. 451

... He should rather take the form of a therapeutic prompter, a counterpart of the playwright and
producer of the conventional stage. ... The director should function as a sort of director of the
audience, complementing the function of the director within the film, stopping the film whenever
necessary, making explanatory remarks, relating it the specific audience facing him and repeating
parts as required.
Psychodrama v. 1 p. 391
Psicomúsica y Sociodrama p. 202, Horme
 Psicodrama p. 452

... Every psychiatrist and psychoanalyst acts in a role natural to his personality. If we could
photograph them in their behavior towards the patient we will see many versions of role-playing
psychiatrists. We should not deny a therapeutic motion picture audience the beneficial influence or the
role-playing psychiatric director himself.
Psychodrama v.1 p. 394
Psicomúsica y Sociodrama p. 208, Horme
Psicodrama p. 455

MOTION PICTURE/THERAPEUTIC PICTURE/HISTORY

A psychodramatic film was produced by the author in collaboration with Mr. S. Bates of Hudson,
N.Y. The film was presented at the meeting of the American Psychiatric Association, in Washington,
D.C., May 1935.
Psychodrama v. 1 p. 392 (footnote)
Psicomúsica y Sociodrama p. 203, Horme
Psicodrama p. 452 (nota de rodapé)

MOTION PICTURE/THERAPEUTIC PICTURE/MAIN OBJECT

OBJECT Although the adequate production of a therapeutic film is important it has to be realized
that the main object of a therapeutic motion picture is not the production process but the treatment of
audiences.
Psychodrama v. 1 p. 390
Psicomúsica y Sociodrama p. 201, Horme
Psicodrama p. 451

MOTION PICTURE/THERAPEUTIC PICTURE /METHODOLOGY

Therapeutic motion pictures, film or television, the selection of conflicts, the construction of plots,
the choice and training of cast, must be made in accord with psychodramatic principles. ... The
therapeutic motion picture is a repeatable event and of cathartic benefit to an audience only. It is
however able to appear simultaneously and successively before innumerable audiences.
Psychodrama v.1 p. 386 (footnote)
Psicomúsica y Sociodrama p. 193, Horme (notas)
Psicodrama p. 466 (nota de rodapé)

Summing up, two general methods of production can be differentiated: the patient-actor method,
in which a patient is the chief actor as well as chief informant, and the ego-actor method, in which an
auxiliary is the chief actor and the patient merely the chief informant.
Psychodrama v. 1 p. 397
Psicomúsica y Sociodrama pp. 212-213, Horme
Psicodrama p. 458

... The producer – in his form-finding search – should be conscious of the factors which make a
psychodramatic session therapeutic so that he should try to translate these factors into the film. There
are three factors at work in every session: a) the action on the stage between patients and auxiliary
egos; they influence in turn every member of the audience; b) the action in the audience; one audio-
ego can be a therapeutic agent to every other audio-ego; as they are influence by the action on the
stage, they in turn, counter-influence the actor-patient and auxiliary egos during the stage process, in
the pauses between scenes, immediately after each scene and at the end of the session, by their
reactions; c) the director, he exerts his influence upon the actor-patients on the stage and the audio-
egos in the audience, and last but not least, by his analysis and comments.
Psychodrama v. 1 p. 393
Psicomúsica y Sociodrama pp. 205-206, Horme
Psicodrama p. 454

MOTION PICTURE/THERAPEUTIC PICTURE/PRE-TEST

... Their reactions to what they experience when seeing a film may guide a producer in the delicate
job of cutting and editing. ... Such a test audience may consist of only a few persons whose sensitivity
can be trained to a high degree of reliability.
Psychodrama v.1 p. 397
Psicomúsica y Sociodrama p. 212, Horme
Psicodrama p. 458

MOTION PICTURE/THERAPEUTIC PICTURE /PRODUCTION

... Inadequate picture-taking may easily turn the most spontaneous acting into a distorted and
artificial portrayal. The psycho-technical problem is therefore how to produce a film so that it
approximates as far as possible the atmosphere of spontaneous acting, and how to construct the film
so that it gives the audience the illusion of direct communication with itself.
Psychodrama v. 1 p. 386
Psicomúsica y Sociodrama p. 194, Horme
Psicodrama pp. 446-447

MOTION PICTURE/THERAPEUTIC PICTURE/PSEUDO

THERAPEUTIC
... Due the fact that the instigators, producers and actors have no psychiatric and psychological
training, these films can well be classified as ‘pseudo’ therapeutic. ... Upon closer analysis of these
films as to their content, the influence of psychoanalytic theory is one of the outstanding features.
Psychodrama v. 1 p. 401
Psicomúsica y Sociodrama pp. 217-218, Horme
Psicodrama p. 461

... “Such rapid popularization of an idea would be flattering, were it not for the increasing number
of seemingly psychiatric motion pictures turned loose upon the public by unskilled men, producing
undesirable effects. An important medium by which masses of people can be treated simultaneously
has come into the hands of laymen who are unwittingly promoting a form of quackery which may
become the greatest barrier to the psychodramatic film of the future.”
Psychodrama v. 1 p. 401
Psicomúsica y Sociodrama p. 219, Horme
 Psicodrama p. 462

MOTION PICTURE/THERAPEUTIC PICTURE /THERAPEUTIC

FACTOR
... It is clear therefore, that the true ground of therapeutic motion pictures is actual, lived and living
experience and not fiction, however significant the latter may be otherwise.
Psychodrama v. 1 p. 395
Psicomúsica y Sociodrama p. 209, Horme
Psicodrama p. 456

... It may very well be that the most therapeutically effective motion pictures will be such films
which do not shown the end productions, but the process in development itself, the status nascendi
and the intermediary stages. Much of that which is cut and edited because it lacks smoothness and
directness may be worthwhile therapeutically and much which is smooth and direct may only aid in
the glamorous escape from the real issue.
Psychodrama v. 1 p. 397
Psicomúsica y Sociodrama p. 212, Horme
Psicodrama p. 458

MOTION PICTURE/THERAPEUTIC PICTURE/HOW TO USE IT

... Every therapeutic film, when released to the public, should be accompanied by a list of
instructions for the medical director who is to present the film to an audience anywhere in the country.
At present our aim should be to use therapeutic motion pictures as supplements to or starters of actual
therapeutic sessions. ... Such films can be used as opening up a psychodramatic session and warming
up a given audience gradually, proceeding immediately afterwards with an actual session, or at least,
with a discussion of the audience’s own reactions.
Psychodrama v. 1 p. 391
Psicomúsica y Sociodrama pp. 202-203, Horme
Psicodrama p. 452

... But a psychodramatic on the consulting board of film production agencies might render good
service, especially to agencies which are engaged in the production of films for children and
adolescents.
Psychodrama v. 1 p. 386
Psicomúsica y Sociodrama p. 193, Horme
Psicodrama p. 446

MUSIC
... The gradual abstraction and differentiation of sounds laid the ground for musical notations.
Psychodrama v. 1 p. 296
Psicomúsica y Sociodrama p. 44, Horme
Psicodrama p. 352
MYSTICS AND MONKS
... On a higher plane a similar problem has to be solved by mystics and monks, viz: the elimination
and gradual extinguishing of the total private person in the process of becoming a saint. In this case
the solution, however, is not merely for a short duration, but for eternity.
Theatre of Spontaneity p. 49
El Teatro de la Esponataneidad p. 90
Teatro da Espontaneidade p. 64
N

NARCISSISM
… Dr. English nodded assurance and I walked on, my chest swelling with a narcissistic glow.
Who Shall Survive? p. xliv Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 48 Prelúdios

... Those persons respond spontaneously to a new situation, much as an actor or actress on the stage
of life, and cultivate a personality such as is deemed by them to be most suitable for the
circumstances and which best will meet the purpose they are endeavoring to serve.
Who Shall Survive? p. xlv Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 pp. 49-50 Prelúdios

NETWORK
NETWORK/FEAR OF THE PSYCHOLOGICAL NETWORKS
... The individual dreads the powerful currents of emotions which “society” may turn against him –
it is fear of the psychological networks. It is dread of these powerful structures of communication
whose influence is unlimited and uncontrollable. It is fear that they may destroy him if he does not
keep still.
Who Shall Survive? p. 586
Fundamentos de la Sociometria p. 401
Quem Sobreviverá? v. 3 p. 154

NETWORK MANIPULATION OF THE NETWORKS

... Groups in power, however, may even attempt to “produce” psychological currents at will,
synthetically. As they have to be artificially sustained they are of short duration. Such manipulation of
the networks and currents in a population is a most dangerous game which may produce greater
disturbances in the depths than the momentary effects upon the surface may indicate at first.
Who Shall Survive? p. 566
Fundamentos de la Sociometria p. 384
Quem Sobreviverá? v. 3 p. 133

NETWORK/PSYCHOGEOGRAPHICAL
The network is related to the currents which run through it as a glass is related to the water, which
fills it except that the network is molded by the currents and the glass is not shaped by the liquid it
holds. The psychogeographical network is analogous to the nervous system, whose network is also
molded by the currents that run through it.
Who Shall Survive? p. 446
Fundamentos de la Sociometria p. 296
Quem Sobreviverá? v. 2 p. 290

NETWORK/SOCIOMETRIC
Whereas certain parts of these social atoms seem to remain buried between the individuals
participating, certain parts link themselves with parts of other social atoms and these with parts of
other social atoms again, forming complex chains of interrelations which are called, in terms of
descriptive sociometry, sociometric networks. The older and wider the network spreads the less
significant seems to be the individual contribution toward it. From the point of view of dynamic
sociometry these networks have the function of shaping social tradition and public opinion.
Who Shall Survive? p. 53
Fundamentos de la Sociometria p. 62
Quem Sobreviverá? v. 1 p. 158

NEUROSIS
NEUROSIS/HISTRIONIC NEUROSIS
... (5). This conflict is particularly evident in the professional actor who is continuously compelled
to restrain and repress “the spontaneous” within him, his private, real person, to a maximum, in order
to portray the theatrical roles adequately (“histrionic neurosis”).
Psychodrama v. 2 p. 150
Las Bases de la Psicoterapia p. 246
Fundamentos do Psicodrama p. 166

... I noticed that when, for instance, the role of Hamlet was played in a professional theatre, there
were a great many irregularities in the performance. “Behind the mask of Hamlet lurks the private
personality of the actor” and a conflict between the role and the private person ensued which
produced these irregularities (“the role-person conflict”) (5). This conflict is particularly evident in
the professional actor who is continuously compelled to restrain and repress “the spontaneous”
within him, his private, real person, to a maximum, in order to portray the theatrical roles adequately
(“histrionic neurosis”).
Psychodrama v. 2 pp. 149-150
Psicoterapia de Grupo y Psicodrama pp. 249-250
Psicoterapia de Grupo e Psicodrama pp. 233-234

NEUROSIS/INTERPERSONAL NEUROSIS
... I have frequently been confronted with emotional difficulties arising between individuals living
in close proximity. “I was then not treating one person or the other, but an interpersonal relationship
or what one may call an interpersonal neurosis.”
Psychodrama v. 2 p. 50
 Las bases de la psicoterapia pp. 91-92
Fundamentos do Psicodrama p. 65

NEUTRALITY
10. Neutrality towards individuals is often due to a cultural imperative, an acquired response of
ascetic unselfishness, an air of objectivity, an attitude of self reliance and independence.
Who Shall Survive? p. 716
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 209

NORMÓTIC
Are you Normótic?
The customary triad of mental classifications are: normal, neurotic, and psychotic. It should be
further differentiated into: normal, “normótic”, neurotic, psychotic. “Normal” man is a rarity. A
multitude of people fall between normal and neurotic, a category which Moreno calls “normótic”. It
composes all individuals who just manage their lives without psychotherapy.
Moreno, J. L. Zerca T.Jonathan “The First Psychodramatic Family”, Beacon House, 1964,
reprint of Psychodrama and Group Psychotherapy, monograph nº40, p. 143
Spanish, no translation
Portuguese, no translation
O

ORGANIZATIONS
ORGANIZATIONS/INTROVERTED FAMILIES
We could divide the members of a cottage in Hudson into two groups: those who want to stay (the
stayers) and those who want to move away (the movers). The proportion between these two groups
decided whether or not a cottage group had an introverted or an extroverted organization. We saw
then that groups with an introverted organization disclosed a stronger craving for difference and
distinction. This feeling of difference and distinction could easily turn into a current of aggression
against intruders from other cottages. This phenomenon appears to have universal application. ... In
every community there are stayers and movers. Communities with an introverted organization also
tend to produce restrictive and protective currents against intruders. Although the motivations for
these phenomena are complex, these restrictive and protective currents appeared to further social
differentiation and integration within communities. An intimate study of the population structure in a
local geographical area will probably demonstrate that the consanguine groups, the family trees, are
the strongest centers of introverted organization and that the craving for difference and distinction is
most strongly focussed in them.
Who Shall Survive? pp. 558-559
Fundamentos de la Sociometria p. 378
Quem Sobreviverá? v. 3 p. 125

ORGANIZATIONS/KINDS OF ORGANIZATIONS
The location of the choices, whether inside or outside the group has a definite effect upon the
organization of the group. Their distribution changes from the 1st to the 5th choice. The following
three samples illustrate the most characteristic patterns of organization resulting from this factor:...
...The same trend is repeated through all the phases from 1st to 5th choice: the majority of choices
go inside, the minority of choices go outside the group. It is a sample of an introverted organization.
... Cottage 10 gives a sample of an extroverted organization. The majority of choices go
persistently in each phase outside, the minority in each phase inside.
... Cottage 7 is a sample in which the majority of choices swings between inside and outside the
group without any decided trend;
... ... This can be called a balanced organization.
Who Shall Survive? pp. 227-228
Fundamentos de la Sociometria pp. 164-165
Quem Sobreviverá? v. 2 pp. 103-104

ORGANIZATIONS/KINDS OF ORGANIZATIONS/CHANGE
OF ORGANIZATIONS
 We have learned that groups of individuals have a tendency to develop definite organization which
can be accurately ascertained and that the patterns of this organization change. (a) According to the
age level of its members. (See pp.150-152). (b) According to the interest of the members for one
another. (See p. 249). If the group is a home group and if the majority of its members prefers to
remain within it, this organization tends to be introverted (see p. 270); but if the majority of its
members wants to live with outsiders, this organization tends to be extroverted (see p. 265). An
introverted group organization tends to be warm, overfilled with emotion. An extroverted group
organization tends to be cold, as little emotion is spent within it. When the members are not interested
in with whom they live, either with each other or with outsiders, the organization is one of solitaires
(see p. 139, Fig. 1). If the introverted and extroverted tendencies reach an equilibrium, the
organization is balanced.
“Extroverted” and “introverted” are psychological concepts introduced by Carl Jung which are
widely used to connote specific individual reaction patterns. But extroverted and introverted group
organization are sociometric concepts and have no relation to introverted and extroverted as used in
the psychological sense.
Who Shall Survive? p. 246
Fundamentos de la Sociometria pp. 180-181
Quem Sobreviverá? v. 2 pp. 119-120
The colored population is housed in cottages separate from the white. But in educational and social
activities white and colored mix freely. These and similar aspects can be termed the “social
organization of the community”. And whatever the “social structure” of a particular cottage may be it
is necessary to ascertain the psychological function of each of its members and the “psychological
organization” of the cottage group. The social function of a girl, for instance, may be that of
supervising the dormitory, but her psychological function may be that of a housemother pet who is
rejected by the members of her group and isolated in it. These emotional reactions and responses
among the girls of the group must result in a dynamic situation, its “psychological organization”.
Who Shall Survive? p. 220
Fundamentos de la Sociometria p. 158
Quem Sobreviverá? v. 2 pp. 97-98

6. Extreme centrifugal (or extroverted) and extreme centripetal (or introverted) organization of
groups renders such groups low in stability and cohesion.
Who Shall Survive? p. 705
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 196

ORIGINALITY
... The third form of spontaneity is that of originality. It is that free flow of expression which upon
analysis does not reveal any contribution significant to call it creativity, but which at the same time, in
its form of production, is a unique expansion or variation from the cultural conserve as a model.
Psychodrama v. 1 p. 91-92
Psicodrama Espanhol p. 139
Psicodrama p. 142
P

PARANOIA
PARANOIA/REALIZATION PARANOIA.
... A producer selects a locality or an architect to build a theatre for the presentation of his work.
But Mary is anxious to be the architect herself and to transform the entire universe into a theatre. She
is determined to stage her John-production wherever she is. She suffers from a realization paranoia.
Psychodrama v. 3 p. 192
Psicoterapia de Grupo y Psicodrama p. 393
Psicoterapia de Grupo e Psicodrama p. 368

PARANOIA/SOCIOMETRIC PARANOIA
... The more such an interioralized process operates as an independent system the more the normal
“sociometric paranoia” becomes a real one.
48. Sociometric paranoia is a “normal” condition of the socius. The more attention an individual
arouses the more involuntarily or voluntarily he draws the normal paranoic trends, positive and
negative, towards him (crucifixion).
Who Shall Survive? p. 714
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 206

PARTICIPANT OBSERVER
We then approached the task from a different angle. Instead of observing the formation of groups
from without we entered into the group became a part of it, and registered its intimate developments.
We ourselves experienced the polarity of relations among members, the development of gangs within
the group, the pressure upon one individual or another.
Who Shall Survive? p. 101
Fundamentos de la Sociometria pp. 90-91
Quem Sobreviverá? v. 1 p. 200

The participant observer of the social laboratory, counterpart of the scientific observer in the
physical or biological laboratory, undergoes a profound change. ... The essence of their situations
will be missed if he acts in the role of a scientific spy. The procedure has to be open and apparent.
Who Shall Survive? p. 102
Fundamentos de la Sociometria p. 92
Quem Sobreviverá? v. 1 pp. 201-202

The participant observer, in the course of his exploration, enters into contact with various
individuals and situations, but he, himself – with his biases and prejudices, his personality equation
and his own position in the group – remains unexamined and therefore, himself, an unmeasured
quantity.
Who Shall Survive? p. 107
Fundamentos de la Sociometria p. 97
Quem Sobreviverá? v. 1 pp. 206-207

... The participant observer – in one particular form of this work – does not remain “objective” or
at a distance from the persons to be studied: he becomes their friend. He identifies himself with their
own situations; he becomes an extension of their own egos. In other words, the “objective”
participant becomes a “subjective” one.
Who Shall Survive? p. 108
Fundamentos de la Sociometria p. 98
Quem Sobreviverá? v. 1 p. 207

... The paradox is that the investigator, although he has become objectified by this process – a
“controlled participant observer”, so to speak – still continues to be what he originally started out to
be: a subjective participant.
Who Shall Survive? p. 109
Fundamentos de la Sociometria pp. 98-99
Quem Sobreviverá? v. 1 p. 208

PATHOLOGY/PSYCHO- AND SOCIO-PATHOLOGY

... A great deal of Man’s psycho- and socio-pathology can be ascribed to the insufficient
development of spontaneity.
Who Shall Survive? p. 42
Fundamentos de la Sociometria p. 56
Quem Sobreviverá? v. 1 p. 149

PERSONA
The sociogram indicates, furthermore, numerous relationships which the patient has in theses new
roles towards half actual and half imagined being – the “personae”.
A persona, illustrated in sociogram III, is emerging when the hands of a certain nurse are the hands
of this nurse m but the head is the head of the patient’s father. Another persona is a physician, to
whom she gives the symbol of the devil,…
Another persona is the physician whom she sees twice his actual size and who impresses her as
dark and sinister.
Moreno, J. L. “Psychodramatic Shock Therapy” in “Group Psychotherapy and
Psychodrama”, Beacon House, v.xxvii, nº 1-4, 1974, p. 15
Psicoterapia de Grupo y Psicodrama p. 359
Psicoterapia de Grupo e Psicodrama pp. 341-342

Another persona is a physician whom she sees twice his actual size and who impresses her as dark
and sinister.
Moreno, J. L. “Psychodramatic Shock Therapy”, A Sociometric Approach to the Problem of
Mental Disorders in “Group Psychotherapy and Psychodrama”, v. xxvii, nº 1-4, 1974, p. 16
Psicoterapia de Grupo y Psicodrama p. 359
Psicoterapia de Grupo e Psicodrama. p. 342

PERSONA/PSYCHOSIS
A “persona” is composed of parts which belonged originally to different individuals and topics.
For instance, the hands of one individual are connected with the head of another individual. The
outcome of the psychotic attack is like debris after an earthquake. Isolated elements whose original
place is hard to detect and new combinations appears. The patient social atom is smashed.
Moreno, J. L. “Psychodramatic Shock Therapy” in “Group Psychotherapy and
Psychodrama”, Beacon House, v.xxvii, nº 1-4, 1974, p. 11.
Psicoterapia de Grupo y Psicodrama p. 355
Psicoterapia de Grupo e Psicodrama p. 338

PERSONALITY
... (personality) can be defined as a function of g (genes), s (spontaneity), t (tele), and e
(environment).
Psychodrama v. 1 p. 52 (footnote)
Psicodrama Espanhol p. 91
Psicodrama p. 102 (nota de rodapé)

... Those persons respond spontaneously to a new situation, much as an actor or actress on the stage
of life, and cultivate a personality such as is deemed by them to be most suitable for the
circumstances and which best will meet the purpose they are endeavoring to serve.
Who Shall Survive? p. xlv
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 pp. 49-50

... But psychoanalysis claims that it has added the novel element of being able penetrate the
intimate dynamics of a dead hero by using the phenomena of his recorded life as clues. It is obvious
that even in a strictly psychoanalytic sense the analysis of a dead person is symbolic rather than
actual. According to psychoanalytic tenets an actual analysis is not possible without display of
“transference” and “resistance” of the subject. Neither transference nor resistance can be expected
from a dead person.
Who Shall Survive? p. xlvi
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 50

PERSONALITY/ANALYZING OTHERS PERSONALITY

... But as no scientific study of the great American emancipator has been made during his lifetime
there was no justification for any attempt to analyze his personality from what is related about him by
laymen.
Who Shall Survive? p. xlv
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 49

... Similarly, it would have been more interesting to find out why Freud picked on Moses and to
analyze Freud as to his own involvements in Moses rather than to follow Freud in his analysis of
Moses. It is from the analysis of the psychoanalyst in situ, when he is involved in the process of
analyzing someone else who is dead that one of the most important contributions of Psychodramatic
theory developed – the subjectification of the apparently objective investigator.
Who Shall Survive? p. xlvi
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 50

PHYSICAL ATTRACTION
5. The effect of sheer physical propinquity upon interaction is often due to an “amor fati loci”. We
have heard subjects declare: “Here I am now (sitting, standing, walking, sleeping, etc.), I have to put
up with it.” Locus as destiny”.
6. The effect of physical propinquity upon interaction is at times due to the principle of least effort;
inertia, apathy and low spontaneity is then stronger than the tele; we have seen individuals who prefer
to make as little effort as possible, to stay put wherever they are instead of moving nearer the one they
like.
7. The effect of physical propinquity upon interaction is due to attraction to a locus, sitting at the
table in the corner, near a window (light and sun), sleeping at a distance, as near the wall as possible
– the choice of physical isolation.
8. The effect of physical propinquity upon interaction is due to attraction to an object, for instance,
a special desk, a special room, etc.
9. The effect of physical propinquity upon interaction is rarely entirely physical and mechanical;
there is an axionormative order operating: “Accept everyone whom you find in your proximity and try
to get along with everyone.”
Who Shall Survive? p. 716
Fundamentos de la Sociometria não há
Quem Sobreviverá? v. 3 pp. 208-209

PHYSICAL CONTACT/LIMITATION
... But suddenly Hitler swatted Goering. Goering responded in kind and a regular fistfight took
place on the spot, during which Hitler took a bad beating. Later they enjoyed a glass of beer together.
From then on the ice gradually began to melt.
Physical contact and physical attack – from caressing and embracing, to pushing and hitting – is
permissible in psychodramatic therapy if it is of benefit to the patient. It is obvious that here the
utmost caution has to be practiced to prevent excesses, or to prevent he auxiliary ego from taking
advantage of the patient in order to satisfy his own needs. A great responsibility rests upon the ego. It
is natural that the auxiliary ego who portrays the part of brutal father may really have to hit his son,
not only “as if”, in order to provoke in the son the responses in action, the perceptions and feelings he
has for his father. It is customary in psychodramatic logic that a sick soldier who comes back home
from war should embrace and caress his auxiliary mother or wife on the stage, if that is what he
would do in real life. It is also psychodramatic logic that if some auxiliary ego takes the part of an
older brother who is suddenly attacked by the patient a real physical encounter may ensue upon the
stage, or in the living quarters of the patient if it is there where the session takes place.
Psychodrama v. 2 pp. 197-198
Las Bases de la Psicoterapia p. 318
Fundamentos do Psicodrama p. 14

PLAY
Historically the psychodrama grew out of the principle of play. Play has always been there; it is
older than Man, it has accompanied the life of organisms as one of its excesses, anticipating growth
and development. In our culture it was particularly Rousseau and Froebel who directed our attention
towards the educational value of play. But a new vision of the principle of play was borne when in
the years before the outbreak of the first World War I began to play with the children in the gardens
and streets of Vienna: play as a principle of cure, as a form of spontaneity, as a form of therapy and as
a form of catharsis; play, not only as an epiphenomenon accompanying and supporting biological aims
but as a phenomenon sui generis, a positive factor linked with spontaneity and creativity. Play has
gradually been separated from its metaphysical, metabiological and methapsychological connections
and shaped into a methodical and systematic principle. All this has brought the idea of play to a new
universality, unknown heretofore; it has pushed and inspired the development of play techniques, play
psychotherapy, theatre of spontaneity, therapeutic theatre, culminating in the role playing,
psychodrama, Sociodrama of our time.
Moreno, J. L. “Hypnodrama and Psychodrama” in Group Psychotherapy, Beacon House, v. 3,
April 1950, nº1, pp. 1-2
Psicoterapia de Grupo y Psicodrama p. 114
Psicoterapia de Grupo e Psicodrama p. 102

PREGNANCY
... Our conclusions therefore, are that any prolongation of the human pregnancy would be a calamity
for the infant, that is length seems rather well planned than otherwise, and that the infant is born at a
strategic moment for the development of his spontaneous potentialities.
Psychodrama v. 1 p. 64
Psicodrama Espanhol p. 106
Psicodrama p. 115

PRESENTIFICATION
(technique used in Brazil that consists in turning to the present tense what the client used to
describe in past tense)
Moreno: Do you sleep alone (drops Martin’s hand, takes a step away from him)
Martin: Well, in this case I slept alone
 Moreno: You slept alone. Well, suppose you fix your bed up the way it was. Is your wife sleeping
in another room?
Moreno, J. L. “Fragments from the Psychodrama of a Dream”, in Group Psychotherapy,
March 1951, nº4, v.iii, pp. 345-346.
Psicoterapia de Grupo y Psicodrama pp. 321-322
Psicoterapia de Grupo e Psicodrama pp. 302-303

PRINCIPLE OF SOCIOMETRIC TRANSPLANTATION

In numerous cases individual treatment, analytic and activistic group psychotherapy as well as
roleplaying are only partially successful. Then the individual must be transplanted. From his old soil
to another social soil better suited to his needs. But how are we going to recognize or to produce a
better soil for the development of an individual? It can be accomplished through a comparative
analysis of every home group with every other home group. Just as a gardener, knowing the
composition of the soil which thwarted the growth of a plant, transfers it to a soil from which such
factors are eliminated, so we, when planting individuals, carefully see to it that the same conditions
which brought failure in the first place are not repeated. This principle of sociometric transplantation
can also be applied to entire communities.
Who Shall Survive? p. 503
Fundamentos de la Sociometria p. 338
Quem Sobreviverá? v. 3 p. 64

PROJECTION
On the social plane we have isolated the factor tele which is able to give the direction which the
expansion of the self takes. In order to understand the operations of the tele, it is useful to differentiate
between projection and what can be called “retrojection”. Projection is usually defined as “throwing
upon others persons one’s ideas and assuming that they are objective, although they have a subjective
origin.” Retrojection is drawing and receiving from other persons (it can be extended to all the
dimensions and subsidiaries) their ideas and feelings, either to find identity with one’s own
(confirmation) or to add strength to the self (expansion).
The organization of the self within the individual organism begins early in life. It is universal
phenomenon and observable in every individual. In certain individuals the power of retrojection is
enormously developed. We call them geniuses and heroes. If a man of genius knows what the people
or the time needs and wants he is able to do this by the retrojective power of the self, that is, by a tele
process, not by projection. They assimilate with enormous ease the experience others have, not only
by drawing it from the people but because others are eager to communicate their feelings to them.
They recognize these experiences as similar or identical with their own and integrate them into their
self; that is how they are able to swell it to enormous expansion. When they lose their mandate, the
calling of the self vanishes and the self shrinks.
Theatre of Spontaneity pp. 21-22
El Teatro de la Espontaneidad pp. 35-36
Teatro da Espontaneidade pp. 8-9
PROLETARIAT
SOCIOMETRIC PROLETARIAT
The oldest and most numerous proletariat of human society is the sociometric proletariat. It
consists of all the people who suffer from one form of misery or another, psychological misery, social
misery, economic misery, racial misery, religious misery. ... The world is full of isolated, rejected,
rejecting, unreciprocated and neglected individuals and groups. The sociometric proletariat cannot be
“saved” by economic revolutions.
Who Shall Survive? p. 118
Fundamentos de la Sociometria não há
Quem sobreviverá? v. 1 pp. 215-216

PROMETHEUS/THE MYTH OF PROMETHEUS AND

PSYCHODRAMA
The theatre for spontaneity was the unchaining of illusion. But this illusion acted out by the people
who have lived through it in reality, is the unchaining of life — “das Ding ausser sich”. The theatre of
the last things is not the eternal recurrence of the same, out of eternal necessity (Nietzsche), but the
opposite of it. It is the self-produced and self-created recurrence of itself. Prometheus has grasped
himself by the chains neither to conquer nor to destroy himself. He, like a creator, brings himself
forth once more and proves by means of psychodrama that his existence in chains has been the
deed of his own free will.
Psychodrama v. 1 p. 29
Psicodrama Spanish p. 59
Psicodrama Portuguese p. 78

PROSTITUTES
PROSTITUTES/AIM OF THE WORK WITH
... I had in mind that what La Salle and Marx had done for the working class, leaving aside the
revolutionary aspect of the labor movement, was to make the workers respectable, to give the
working man dignity; to organize them into labor unions in order to raise the status of the entire class.
Aside from the anticipated economic achievements it was accompanied by ethical achievements.
... But we were optimistic and started to meet groups of eight to tem girls, two of three times a
week in their houses. It was during the afternoon when the Viennese had what is called “Jauze”; it is
the counterpart of the English five o’clock tea. ... The conferences at first simply dealt with everyday
incidents which the girls encountered, being caught by a policeman because of wearing too
provocative a dress, being put into jail because of false accusations of a client, having a venereal
disease but being unable to find a hospital to admit her, becoming pregnant and giving birth to a baby
but having to hide the child before the world under a different name and hiding her own identity as the
mother towards the child. ... They first noticed superficial results, for example, we were able to get a
lawyer for them to represent them in a court, a doctor to treat them and a hospital to admit them. ...
The girls volunteered to pay a few dimes a week towards the expenses of these meetings as well as
towards some savings for emergencies like sickness and unemployment or old age. ... But we began
to see then that “one individual could become a therapeutic agent of the other” and the potentialities
of a group psychotherapy on the reality level crystallized in our mind.
Who Shall Survive? p. xxix–xxx Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 pp. 35-36 Prelúdios

PROTAGONIST
... It is significant that the Greek word for the chief actor in the drama is protagonist, i.e., the man
in a frenzy or madman.
Psychodrama v. 1 p. 91
Psicodrama Espanhol p. 138
Psicodrama p. 141

The second instrument is the subject or patient. He is asked to be himself on the stage, to portray
his own private world. He is told to be himself, not an actor, as the actor is compelled to sacrifice his
own private self to the role imposed upon him by a playwright. Once he is warmed up to the task it is
comparatively easy for the patient to give an account of his daily life in action, as no one is as much
of an authority on himself as himself. He has to act freely, as things rise up in his mind; that is why he
has to be given freedom of expression, spontaneity. Nest in importance to spontaneity comes the
process of enactment. The verbal level is transcended and included in the level of action.
Psychodrama v.1 p. b Introduction to 4th edition
Psicodrama Espanhol p. não há
Psicodrama p. 18 Introdução à 4a edição

... The protagonist, in order to get into the production, must be motivated consciously or
unconsciously. The motive may be, among other things; self realization, relief from mental anguish,
ability to function in a social group. He is frustrated, let us say, in the role of the father or any other
role in life itself, and he enjoys the feeling of mastery and realization by means of psychodrama which
givens him symbolic satisfaction.
Psychodrama v. 1 p. viii Introduction to 3rd edition
Psicodrama Espanhol p. não há
Psicodrama p. 32 Introdução à 3a edição

PROTOCOLS
PROTOCOL/ADOLESCENT CASE
Psychodrama v. 3 pp. 39-56
Psicoterapia de Grupo y Psicodrama pp. 272-279
Psicoterapia de Grupo e Psicodrama pp. 243-265

PROTOCOLS/BÁRBARA CASE
Psychodrama v. 1 pp. 3-5
Psicodrama Espanhol pp. 24-26
 Psicodrama pp. 52-54

PROTOCOL/HITLER CASE
Psychodrama v. 2 pp. 191-200
Las Bases de la Psicoterapia pp. 307-320
Fundamentos do Psicodrama pp. 207-217

PROTOCOLS/MARIE CASE
Psychodrama v. 3 pp. 181-197
Psicoterapia de Grupo y Psicodrama pp. 361-396
Psicoterapia de Grupo e Psicodrama pp. 345-371

PROTOCOLS/PSYCHODRAMA OF A DREAM
Moreno, J. L. “Fragments from the Psychodrama of a Dream”, in Group Psychotherapy,
March 1951, nº4, v.iii, p. 365.
Psicoterapia de Grupo y Psicodrama pp. 320-342
Psicoterapia de Grupo e Psicodrama pp. 303-329

PROTOCOLS/PSYCHODRAMA OF A MARRIAGE
Psychodrama v. 3 p. 84-132
Psicoterapia de Grupo y Psicodrama pp. 202-237
Psicoterapia de Grupo e Psicodrama pp. 187-226

PROTOCOLS/ROBERT CASE
Psychodrama v. 1 pp. 184-216
Psicoterapia de Grupo y Psicodrama pp. 280-313
Psicoterapia de Grupo e Psicodrama pp. 266-295

PSYCHE
... We may be credited to have put the psyche itself on the stage. The psyche which originally came
from the group – after a process of reconversion on the stage – personified by an actor – returns to the
group – in the form of the psychodrama. That which was most starling, new and spectacular to see
and to feel on the stage appears to the participants after thorough exposure as a process which is
familiar to them and intimately known – as their own selves. The psychodrama confirms their own
identity as in a mirror.
Psychodrama v. 1 p. e Introduction to the 4th edition
Psicodrama Espanhol p. não há
Psicodrama p. 21

PSYCHODRAMA
PSYCHODRAMA/BEGINNINGS
 ... Psychodrama was born on Fool’s Day, April 1, 1921, between 7:00 and 10:00 p.m.
The Locus nascendi for the first official psychodramatic session was the “Komoedien Haus”, a
theatre for the drama in Vienna. ... When the curtain went up the stage was bare except for a red plush
armchair which had a gilded frame and a high back – like the throne of a king.
Psychodrama v. 1 p. 1
Psicodrama Espanhol p. 21
Psicodrama p. 49

When I was four and a half years old my parents lived in a house near the river Danube. They had
left the house on a Sunday to pay a visit, leaving me alone in the basement of the house with
neighbors’ children. ... The children said: “Let’s play”. One child asked me: “What?” “I know”, I
said, “let’s play God and his angels”. ... The first inspiration may well have come from this personal
experience.
Psychodrama v. 1 pp. 2-3
Psicodrama Espanhol pp. 22-23
Psicodrama pp. 50-51

The step toward complete spontaneity of the actor brought about the next step, the intermittent de-
conserving of the actor from clichés which might have accumulated in the course of his production or
of his living, and then finally the third step, conscious and systematic spontaneity training. It was this
methodology of training which prepared the way for the psychodrama. Once we had permitted the
actor a full spontaneity of his own, his full private world, his personal problem, his own conflicts, his
own defeats and dreams came to the fore. I recognize gradually the therapeutic value which this kind
of presentation had for the actor himself and when properly manipulated, the therapeutic value it had
for the audience.
Theatre of Spontaneity p. 102
El Teatro de la Espontaneidad pp. 170-171
Teatro da Espontaneidade p. 120

... Looking backwards to my first book, it is now clear that from the idea of the meeting, the
encounter between the author and reader, preacher and follower, husband and wife, each in his
“role”, it was only a short step from putting them on a stage on which they can battle their relationship
out, unhindered by the threats and anxieties of their real life situation. This is how the idea of the
psychodrama was born.
Who Shall Survive? p. 66
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 170

The genesis of psychodrama was closely related to the genesis of the Godhead. I tried to draw in
my mind picture of what God looked like on the first day of creation. He may have been knowing and
wise, a being who can penetrate with his eyes the abysses of the universe, very much in the manner of
a
Buddhist or a psychoanalyst. Then I began growingly to realize that the mind of God could not
operate like the mind of a Buddhist or a psychoanalyst. Hovering over the chaos on the first day, he
was there to create, not to take apart and to analyze. He may have become more of an analyst as the
days of creation went on, or after it was all over – in moments of reverie or in moments of
disillusionment with the result. ... Therefore, I conclude that God was first a creator, an actor, a
psychodramatist.
Who Shall Survive? p. xvi – xvii Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 24 Prelúdios

... In the midst of this cold psychological war, which has divided and deflated the creative forces
of our time, psychodramatic philosophy stepped in around 1920, reversing the psychoanalytic values
and giving the undirected, anarchic creative forces a positive anchorage, 1) by declaring the
pathological normal and providing for all forms of pathological behavior a world sui generis, simply
by giving the venerable theatre a psychiatric twist, in the form of the therapeutic drama; 2) by giving
all forms of subjective existence, including the prophetic and the deviate, a place where it can fulfill
and perhaps transform itself, unencumbered by the restrictions of the prevailing culture; 3) by
preparing the way for a therapeutic community in which the prophet and the deviate would find better
treatment and deeper understanding and so be able to contribute to its total productivity.
Psychodrama v. 2 p. 215
Las Bases de la Psicoterapia p. 342
Fundamentos do Psicodrama p. 230

PSYCHODRAMA/CLASSIFICATION/“A DEUX”
... To this class belongs the hypnotic seance, suggestion therapy, psychoanalysis and any type of
treatment in which the physician of healer is faced by one person only.
Psychodrama v. 1 p. 323
Psicomúsica y Sociodrama p. 90, Horme
Psicodrama p. 381

... The elimination of an audience, however, is often necessary to certain subjects and problems.
Many subjects begin to work with the psychodramatic director alone, in the course of development
one or two egos are added.
Psychodrama v. 1 p. 261
Psicodrama Espanhol pp. 348-349
Psicodrama p. 318

... Originally there was only one situation which was acceptable to Freud. That was the
psychoanalytic situation in his office. But gradually the limitations of this situation became apparent.
It was applicable only to a small minority of individuals, to young and middle aged adults. There was
no transference relationship and hence no analysis possible with children and psychotics. ... He was
stuck with one situation, the holy one. This is probably the reason why his pupils took so slowly to
my ideas of spontaneous play therapy and audience or group therapy.
Psychodrama v. 1 pp. 6-7
Psicodrama Espanhol p. 28
Psicodrama p. 55
 The psychodrama à deux, a parallel to the psychoanalytic situation on the couch, has been tried
from time to time, but it is interesting to point out that the psychodramatist in private practice
frequently prefers to employ his nurse as an auxiliary ego to maintain his own identity as director
unimpaired.
Psychodrama v. 2 p. 232
Las Bases de la Psicoterapia p. 367
Fundamentos do Psicodrama p. 246

We have discussed in our first lecture the therapeutic dyad, that is a group which consists of one
patient and one therapist only.
Psychodrama v. 2 p. 45
Las Bases de la Psicoterapia p. 83
Fundamentos do Psicodrama p. 59

PSYCHODRAMA/CLASSIFICATION/“A DEUX”/TECHNIQUE OF
SELF PRESENTATION
Technique of self presentation. The subject acts in his own roles and portrays the figures which
fill his own private world. Psychodrama is here a form of individual psychotherapy. He is his own
auxiliary ego, the physician may be the other. One of the first uses of the psychodramatic technique
was in this individual form. It was and is an improvement upon psychoanalysis as a patient-physician
relationship. Erroneously, psychodrama is thought of only in its group form.
Who Shall Survive? p. 723 Glossary
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 217 Glossário

PSYCHODRAMA/CLASSIFICATION/CONFESSIONAL
D) Psychodrama: Confessional Type
The group approach in the psychodrama has reported various techniques to date. They can be
summarized as of the direct or the Confessional type. The object of these psychodramatic procedures
was to treat a group of spectators or a particular individual. The people present were encouraged to
act out their own problems truthfully on the stage, or to discuss the proceedings as they pertained to
their own problems. The usefulness of these techniques has been described by me on different
occasions.
Psychodrama v. 1 p. 324
Psicodrama Espanhol p. não há
Psicodrama p. 382

PSYCHODRAMA/CLASSIFICATION/INDIVIDUAL
... 1) A session can be designed to treat a single individual. The director and his staff of auxiliary
egos plan the session on the basis of the history and the patient’s present situation.
Psychodrama v. 3 p. 184
Psicoterapia de Grupo y Psicodrama p. 368
Psicoterapia de Grupo e Psicodrama p. 349
PSYCHODRAMA/CLASSIFICATION/NONCONFESSIONAL
E) Psychodrama: Non-confessional Type
Another group of procedures deserves utmost consideration. Here the actions on the stage are
produced, instead of by actual subjects, by a staff of auxiliary egos. The members of the audience are
permitted to discuss the proceedings as if they would have no bearing on their own. This form of
psychodrama is the indirect or the Non-confessional type. Non-confessional psychodrama is
characterized by the following three steps: the interview of every subject who is to participate in a
session – the careful analysis of these materials – and the classification of every subject according to
his dominant mental syndrome or problem. On the basis of these classifications the group for every
session is organized so that they may attain the greatest possible benefit from the treatment. For
instance, certain types of alcoholics may be put into one group, certain types of matrimonial problems
into another group, etc.
The non-confessional group approach in the psychodrama appears to be of particular value in
minor maladjustments, incipient neuroses and simple interpersonal conflicts. In such cases the
mirroring of typical situations on the stage similar to the spectators’ own stimulate attempts a
autonomous objectification of their actual problem when left to their own resources. In more serious
cases, however, this approach is but a prelude to the direct quasi-confessional form of treatment
which culminates in the direct presentation of problems on the stage.
Psychodrama v. 1 pp. 324-325
Psicomúsica y Sociodrama pp. 93-94, Horme
Psicodrama pp. 382-383

PSYCHODRAMA/CLASSIFICATION/PEDAGOGIC (SEE ALSO

LEARNING/SPONTANEITY)
... that is learning through doing. Or as it is also termed, the learning through “activities”. In this
set-up we see the children developing projects of all sorts in the garden, in the workshop, on the
playground and so on. This is a remarkable advance. But the difficulty with the activities method is
that in learning through doing, if it proceeds blindly, the pupils shape and firmly establish their faults
as well as their abilities.
Psychodrama v. 1 p. 133
Psicodrama Espanhol pp. 186-187
Psicodrama p. 185

PSYCHODRAMA/CONCEPT/DEFINITION
Historically, psychodrama represents the chief turning point away from the treatment of the
individual in isolation, to the treatment of the individual in groups, from the treatment of the
individual by verbal methods to the treatment by action methods. ... it is an effective combination of
individual with group catharsis, of participation with action catharsis.
Psychodrama v. 1 p. 10
Psicodrama Espanhol p. 32
Psicodrama p. 59

... The psychodramatic process is a reversal of the normally dramatic.

 Psychodrama v.1 p. 394
Psicomúsica y Sociodrama p. 207, Horme
Psicodrama p. 455

... The original unity between fantasy and reality in the child’s mind is broken from now on and
begins to develop in two separate dimensions of experience. It can be said that psychodrama is an
attempt to breach the dualism between fantasy and reality, and to restore the original unity.
Psychodrama v. 1 p. 351
Psicomúsica y Sociodrama p. 136, Horme
Psicodrama p. 410

... Psychodrama has been defined as a deep action method dealing with inter-personal relations and
private ideologies, and sociodrama as a deep action method dealing with inter-group relations and
collective ideologies.
Psychodrama v. 1 p. 352
Psicomúsica y Sociodrama p. 138, Horme
Psicodrama p. 411

... Psychodramatic production consists of structured scenes, each scene of structured roles, and
each role of structured interactions. The various abreactions are obviously interwoven into a
symphony of gestures, emotions, strivings, and interactions. Several individuals – the protagonist, the
auxiliary egos, the director, and the group – take part in their development. A great deal of emotion,
thinking, scientific and artistic skill goes into their making.
Psychodrama v. 1 p. xii
Psicodrama Espanhol p. 368
Psicoterapia de Grupo e Psicodrama p. 349

1913, Definition of Psychodrama

The most amusing of the early definitions of psychodrama was given to me by a Viennese poet, a
chronic alcoholic, as he was walking with me one night up and down the Kärtner Strasse. “Moreno”,
he exclaimed, “I agree with you, if I have to die I would rather die of diarrhea than of constipation.
As I see it, this is the difference between you and Freud.”
Who Shall Survive? p. xxviii
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 34 Prelúdios

Psychodrama explores the truth by means of dramatic methods. It is the depth therapy of the group.
It starts where group psychotherapy ends, and extends it in order to make it more effective.
Psychodrama v. 2 p. 191
Las Bases de la Psicoterapia p. 307
Fundamentos do Psicodrama p. 207

... He comes forth not in the form of a smoothly written and sophisticated theory of spontaneity or
of existence but in the full actuality of living, of throwing himself bluntly into the face of an uprooted
scientific age. This vehicle into which he enters must be like a suit which is made to order with plenty
to spare for the millions of varieties of private and social worlds – the psychodrama.
Psychodrama v. 2 p. 135
Las Bases de la Psicoterapia p. 224
Fundamentos do Psicodrama pp. 151-152

PSYCHODRAMA/DREAM WORK
The objective of psychodramatic techniques is to stir up the dreamer to produce the dream instead
of analyzing it for him. Even if one could be sure that the analysis is objective and reliable it is
preferable if analysis is turned into production by the dreamer.
The first stage of the production which Martin actually had on the reality level, on a specific date;
then Martin was unconsciously his own producer. The stages of production was in the mind of the
sleeper, the dreamer hallucinates all his auxiliary egos and auxiliary objects. Thee was no one to
share the dream with him, he was the sole agent of his warming up process and the end which the
dream had, pleasant or unpleasant, had only him as a witness and observer.
The second stage of production takes place in the Theatre of Psychodrama; it is here that therapy
begins. As the dreamer begins to reenact his own dream with the aid of a director and auxiliary egos,
the manifest as well as the latest configurations of the dream come forth naturally. Whatever a verbal
analysis could reveal to the dreamer is brought out in direct, actional terms. The dreamer does not
have to “agree” with the analyst, his own actions tell him and the audience what processes take place
in his mind. One might say that instead of being analyzed through analysis he is analyzed through
production. Analysis becomes submerged into the production. It is of advantage that learning does not
have the form of analysis but the form of living out in action, a form of self realization through the
dream. Beyond this the dreamer brings forth experiences which are in analysis as well as in all
verbal communication frequently guess work and as such often unreliable or at least limited.
The third phase of the dream production is stirring the patient up to extend the dream beyond the
end which nature has set for the sleeper or at least the end which he remembers. He is encouraged to
re-dream the dream, to continue the dream on the stage and to end it in a fashion which appears more
adequate to him or which brings him to a better control of the latent dynamics upsetting him. Such a
procedure becomes a veritable “dream catharsis”. This kind of “dream learning” leads up to the next
stage.
The fourth stage finds the patient again back in his own bed, sleeping as he was in the first phase in
situ, in reality. He is again his own director, hallucinating his own dream characters and objects. But
what he has learned in the course of active dream production he is apt to apply now, to the same
dream if it is a recurrent one, or to a similar dream emerging In him. One could speak here of a “post-
psychodramatic suggestion” as one talks about post- hypnotic suggestion. In both cases an operation
reaches into the patient’s unconscious activities long after he has been exposed to it and it reaches
him on a deep action level, for instance here during sleep; he becomes his own dream therapist.
… Only action methods are causal and central, at least theoretically; only they are so constructed
as to attack the action matrix of a person directly and if possible, to change it.
… Psychoanalysis differentiates between two categories, manifest and latent dream. A Third
category is here added, the “action-matrix” of a dream.
Moreno, J. L. “Fragments from the Psychodrama of a Dream”, in Group Psychotherapy,
March 1951, nº4, v.iii, pp. 363-365
Psicoterapia de Grupo y Psicodrama pp. 340-342
 Psicoterapia de Grupo e Psicodrama pp. 325-327

... Well, it is in the area of dreams in which psychodrama has been able to advance the science
beyond the “Interpretation of Dreams”. It is by acting out and role playing techniques. The verbal
telling of a dream is a poor duplication of the experience which the dreamer actually goes through in
situ, that is, when he sleeps. Psychodrama is the essence of the dream. ... By letting the dreams be
acted out via psychodramatic techniques, those deeper parts of the unconscious can be brought to
view for the analyst and observer even if they cannot be made conscious to the actor.
Psychodrama v. 2 pp. 98-99
Las Bases de la Psicoterapia. p. 167
Fundamentos do Psicodrama p. 115

PSYCHODRAMA/HISTORY
For a true precedent we must look into civilizations of the prehistoric period. In primitive dramatic
rites the aboriginal performer was not an actor, but a priest. He was like a psychiatrist engaged in
saving the tribe, persuading the sun to shine or the rain to fall.
Psychodrama v. 1 p. 13
Psicodrama Espanhol p. 36
Psicodrama p. 62

PSYCHODRAMA/INTERPRETATION
... In the psychodrama the behavior and the acting of the patient interprets for the therapist in the
Here and Now, the therapist’s interpretation is reduced to a minimum.
Psychodrama v. 2 p. 231
Las Bases de la Psicoterapia pp. 365-366
Fundamentos do Psicodrama p. 245

PSYCHODRAMA/KING’S PSYCHODRAMA
... Psychodrama was born on Fool’s Day, April 1, 1921, between 7:00 and 10:00 p.m.
The Locus nascendi for the first official psychodramatic session was the “Komoedien Haus”, a
theatre for the drama in Vienna. ... When the curtain went up the stage was bare except for a red plush
armchair which had a gilded frame and a high back – like the throne of a king. ... The natural theme of
the plot was the search of a new order of things, to test everyone in the audience who aspired to
leadership, and perhaps to find a saviour. ... The audience was the jury. ... When the show came to an
end none was found worthy of being a king and the world remained leaderless
Psychodrama v. 1 p. 1
Psicodrama Espanhol p. 21
Psicodrama p. 49

PSYCHODRAMA/MAGIC
... The auxiliary ego technique itself is a form of primitive “psycho”-animism. The techniques of
the animistic philosopher rejected by analytic anthropologists as infantile magic is returning on the
therapeutic level and has been made productive in psychodrama.
Psychodrama v. 2 p. 155
Psicoterapia de Grupo y Psicodrama p. 255
Psicoterapia de Grupo e Psicodrama p. 237

PSYCHODRAMA/MEANING OF THE NAME

Drama is a transliteration of the Greek Spöua which means action, or a thing done. Psychodrama
can be defined, therefore, as the science which explores the “truth” by dramatic methods. It deals with
inter-personal relations and private worlds.
Who Shall Survive? p. 81
Fundamentos de la Sociometria p. 75
Quem Sobreviverá? v. 1 p. 183

PSYCHODRAMA/PSYCHOANALYSIS
... Psychodrama can be viewed as the logical consequence of psychoanalysis, a step beyond it, but
including all verbal concomitants of free association.
Psychodrama v. 2 p. 216
Las Bases de la Psicoterapia p. 343
Fundamentos do Psicodrama p. 230

Psychoanalysis was constructed to permit words and their associations, then to analyze and
estimate indirectly the behavior which may underlie them. Psychodrama was constructed to permit
action and production so as to study behavior in its concrete form. In a broad sense, it is total
production versus total analysis.
Psychodrama v. 2 p. 231
Las Bases de la Psicoterapia p. 365
Fundamentos do Psicodrama p. 245

PSYCHODRAMA/PSYCHOANALYSIS/COMPLIMENTS TO FREUD
... Freud was a greater scientist than most of those who criticize him, his hypotheses were based at
least on partial evidence and perhaps at times on as little as ten percent probably, but he knew it. He
was always willing to change his hypotheses with new evidence and he changed them several times
during his life. My critique goes against the psychoanalytic system in its entirety and the unconscious
underlying it.
Who Shall Survive? p. liii
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 56

PSYCHODRAMA/PSYCHODRAMATIC METHOD
The methodological superiority of psychodramatic procedures as compared to the self-therapies
and the healerpatient therapies can be easily demonstrated. A well-conducted psychodramatic session
uses, among others, the following elements: a) the psychiatric interview with every member in the
group participating, b) a lecture on topics carefully chosen to meet the interests and requirements of
as many among them as possible, c) discussion, d) psychodramatic actions on the stage with the
assistance of a staff of auxiliary egos, e) analysis of the acted out events to which each member of the
group may make a spontaneous contribution, f) participant observers in the audience who register the
reactions of each spectator, g) verbatim recordings of the total session, h) therapeutic films. These are
the basis for a total analysis and for preparatory steps leading up to the next session.
Psychodrama v.1 p. 323
Psicomusica y Sociodrama pp. 91-92, Horme
Psicodrama p. 381

PSYCHODRAMA/PSYCHODRAMATIC METHOD/COUNTER-
INDICATION
... It is often dangerous to take patients of her type prematurely into the theatre and without
adequate motivation.
Psychodrama v. 3 p. 185
Psicoterapia de grupo y Psicodrama p. 373
Psicoterapia de Grupo e Psicodrama p. 334

PSYCHODRAMA/PSYCHOSIS (SEE IN
PSYCHOSIS/PSYCHODRAMA)
PSYCHODRAMA/RESEARCH
... Therefore the potentialities of drama-research and role research for giving clues to methods by
which public opinion and attitudes can be influenced or changed are still unrecognized and
unresolved
Psychodrama v. 1 p. 356
Psicomusica y Sociodrama p. 144, Horme
Psicodrama p. 415

PSYCHODRAMA/SESSION/END OF A SESSION
... It is good psychodrama not to end a session with a “letdown” for the patient, but with a high
point.
Psychodrama v. 3 p. 186
Psicoterapia de Grupo y Psicodrama p. 378
Psicoterapia de Grupo e Psicodrama p. 356

... It is good psychodrama not to end a session with a “letdown” for the patient, but with a high
point.
Psychodrama v. 3 p. 186
Psicoterapia de Grupo y Psicodrama p. 378
Psicoterapia de Grupo e Psicodrama p. 356

PSYCHODRAMA/SETTING
Psychodrama does not require a theatrical setting, a frequent misunderstanding; it is done in situ —
that is, wherever the patient is found.
J. L. Moreno, “Hypnodrama and Psychodrama”, in Group Psychotherapy, Beacon House,
nº1, April 1950, viii, p. 5
Psicoterapia de Grupo y Psicodrama p. 119
Psicoterapia de Grupo e Psicodrama p. 105

PSYCHODRAMA/SOCIO-PSYCHODRAMA
The group approach in psychodrama deals with “private” problems however large the number of
individuals may be of which the audience consists. But as soon as the individuals are treated as
collective representatives of community roles and role relations and not as to their private roles and
role relations, the psychodrama turns into a “socio-psychodrama” or short, sociodrama. The latter has
opened new ways of analyzing and treating social problems.
Psychodrama v. 1 p. 325
Psicomusica y Sociodrama p. 94, Horme
Psicodrama pp. 383-385

PSYCHODRAMA/SUBJECT
... It can well be said that the psychodrama provides the subject with a new and more extensive
experience of reality, a “surplus reality”, a gain which at least in part justifies the sacrifice he made
by working through a psychodramatic production.
Who Shall Survive? p. 85
Fundamento de la Sociometria p. 78
Quem Sobreviverá? v. 1 p. 186

PSYCHODRAMATIC EFFECT
This process can be called the psychodramatic effect. It affects subjects and egos. This sort of
experience was made the basis for treating the auxiliary as if she were a subject. Her own marital
conflict was treated separately, from phase to phase, with the aid of two other auxiliary egos on the
staff. Her experience on the stage is called the psychodramatic catharsis of an auxiliary ego.
... A better way of treating an auxiliary ego takes place in the course of the psychodrama itself.
When the auxiliary ego shows any odd conduct, the inquiry about it is made in front of the subject – in
fact, in front of the whole group. ... The subject is present when the auxiliary is caught in a trap, and
as the problem is revealed and eventually enacted, the subject can get some sort of a picture of how
he himself looks from a distance. He now gets the catharsis of a spectator as well as that of an actor.
... As a net result, just as the psychodramatic subjects emerge from the treatment as people able to
perform more adequately in the situations treated, so do the auxiliary egos grow wiser and more
versatile in their own spheres of living.
Psychodrama v. 1 p. 337-338
Psicomusica y Sociodrama p. 114-115, Horme
Psicodrama p. 396-397

PSYCHODRAMATIC SHOCK TREATMENT

 A procedure witch throws the patient barely escaped from a psychosis, into a second psychosis is
a psychodramatic chock treatment. As a violent shock the acute phase of a psychosis is treated by
another violent shock with material resemblance to it. Since a cathartic effect is expected from it, this
recalls an old dogma in medicine: “simila similibus curantur”.
J. L. Moreno, “Psychodramatic Shock Therapy”, A Sociometric Approach to the Problem of
Mental Disorders in “Group Psychotherapy and Psychodrama”, v. xxvii, nº 1-4, 1974, p. 5
Psicoterapia de Grupo y Psicodrama pp. 345-346
Psicoterapia de Grupo e Psicodrama p. 330

... Here we notice that “straight” role playing can be insufficient, and we see why psychodramatic
techniques need to be introduced. It is (1) to get the protagonist into deeper action by involving him
more in his experience, and (2) to make his hallucinations become more tangible either through his
own enactment of them or by an auxiliary ego’s enactment. Our hypothesis is that if such
experiments are made at the time when hallucinations are active, controls are interpolated in the
patient’s mind, conditioning barriers, which become particularly important as a reservoir of
preventive measure in case of later relapses.
Psychodrama v.1 p. xv-xvi
Psicodrama Espanhol não há
Psicodrama p. 41

... It appears that to such individuals who have reached the stage of a well organized mental
disorder the enactment of the inner world within a dramatic context is indispensable. The need for the
drama can be temporarily choked, for instance, by sleep or shock therapies. But the fundamental need
for the realization of certain fantastic imageries cannot be “shocked away”.
Psychodrama v. 1 pp. 18-19
Psicodrama Espanhol p. 43
Psicodrama p. 68

PSYCHODRAMATIC SHOCK TREATMENT/DIFFICULTIES

It was difficult for us to suggest a definite situation, which she might construct because wide
discrepancy was evident between what she remembered clinically and between what she produced
psychodramatically. Whenever we told her what she had said and done she replied: “I did not say
that. I do not remember.” Thus we could not guide her into the shock. She had to guide herself. Instead
of suggesting therefore a specific situation we tried to pin her memory upon a locality, the “middle
room” in which she had been about twelve hours.
J. L. Moreno, “Psychodramatic Shock Therapy”, A Sociometric Approach to the Problem of
Mental Disorders in “Group Psychotherapy and Psychodrama”, v. xxvii, nº 1-4, 1974, pp. 9-10
Psicoterapia de Grupo y Psicodrama p. 353
Psicoterapia de Grupo e Psicodrama p. 336

PSYCHODRAMATIC SHOCK TREATMENT/METHOD

The patient acting on the stage shocks himself, his auto-tele, and his social–atom until it gives way
to the pathological constellation of his psychotic state.
 J. L. Moreno, “Psychodramatic Shock Therapy”, A Sociometric Approach to the Problem of
Mental Disorders in “Group Psychotherapy and Psychodrama”, v. xxvii, nº 1-4, 1974, p. 7.
Psicoterapia de Grupo y Psicodrama p. 349
Psicoterapia de Grupo e Psicodrama p. 333

If the attack has come to an end the patient herself gives a signal that the bedlam is over. She feels
“like new” … It is the normal response of an individual from whom a heavy burden has been
removed. This moment is the crucial time to apply the psychodramatic shock. The more days and
weeks go by the more the psychological navel-string, which binds her present situation to the
psychotic world from which she comes, fades en finally breaks. But if the shock treatment has begun
at the crucial time before it is too late, the psychosis is kept alive in the patient. She develops a
double relationship towards two different worlds. For many months the treatment can go on. Shocks
are timed daily or as often as the treatment required.
J. L. Moreno, “Psychodramatic Shock Therapy”, A Sociometric Approach to the Problem of
Mental Disorders in “Group Psychotherapy and Psychodrama”, v. xxvii, nº 1-4, 1974, p. 13
Psicoterapia de Grupo y Psicodrama p. 357
Psicoterapia de Grupo e Psicodrama pp. 339-340

PSYCHODRAMATIC SHOCK TREATMENT/PSYCHOSIS

There is no moment during the procedure in which the psychiatrist and the patient cannot say
“stop”. Immediately or a few seconds after the order is given the patient may break up the procedure
act as if nothing had happened. These stop orders produce in the patient a significant co-experience.
Acting on a psychotic level at a time when he is extremely sensitive, he learns to check himself. It is
training in mastery of psychotic invasions, not through intellectual means, but through a sort of
spontaneity training.
Moreno, J. L. “Psychodramatic Shock Therapy” in “Group Psychotherapy and
Psychodrama”, Beacon House, v.xxvii, nº1-4, 1974, pp. 5-6
Psicoterapia de Grupo y Psicodrama p. 348
Psicoterapia de Grupo e Psicodrama p. 332

PSYCHODRAMATIC SHOCK TREATMENT/TIMING

In the course of every psychotic attack there are many moments of relative lucidity. During any of
these lucid moments an application of the psychodramatic chock may be considered .the ideal time for
it’s application, however, seems to be after the attack has burned itself out immediately after its
natural course has terminated. The outbreak and course of a psychotic attack are so far removed from
any rapport that no other approach is able to give us direct information about the actual structure of
these psychotic words.
J. L. Moreno, “Psychodramatic Shock Therapy”, A Sociometric Approach to the Problem of
Mental Disorders in “Group Psychotherapy and Psychodrama”, v. xxvii, nº 1-4, 1974, p. 7
Psicoterapia de Grupo y Psicodrama pp. 349-350
Psicoterapia de Grupo e Psicodrama p. 333
PSYCHODRAMATIC TECHNIQUE
... Psychodramatic forms of role playing as role reversal, role identification, double and mirror
playing, contribute to the mental growth of the individual.
Psychodrama v.1 p. v Introduction to 3rd edition
Psicodrama Espanhol p. não há
Psicodrama p. 28

PSYCHODRAMATIC TECHNIQUE/ANALYSIS AFTER EVERY SCENE

There are certain types of patients whose production on the stage can be analyzed after every
scene, in their presence. The analysis offers two gains, one for the patient’s better understanding of
his own problem, the other giving clues to the next logical psychodramatic situation to be worked out
on the stage.
Psychodrama v. 3 p. 186
Psicoterapia de Grupo Y Psicodrama p. 378
Psicoterapia de Grupo e Psicodrama pp. 356-357

PSYCHODRAMATIC TECHNIQUE/AUXILIARY WORLD

We come now to consider the type of patient with whom communication of any sort is reduced to a
minimum. The more sketchy and incomplete the ego, the more articulate and thorough has to be the aid
supplied from outside by an auxiliary ego. The more disturbed the mental organization of the patient
seems to be, the larger are the number of aids the auxiliary ego has to contribute and the greater is the
need for his initiative. Numerous auxiliary egos may become necessary and, in the case of the severe
and established psychosis, the task confronting the auxiliary ego is beyond possibility of effective
treatment. The milder patient, however many aids he may need for bringing himself to a more
satisfactory realization, still lives within the same world with us. In the case of the more severe
patient, the reality, as it is usually experienced, is replaced by delusional and hallucinated elements.
The patient needs more than an auxiliary ego, he needs an auxiliary world.
Psychodrama v. 1 p. 220
Psicoterapia de Grupo y Psicodrama p. 342
Psicoterapia de Grupo e Psicodrama p. 327

We molded an auxiliary psychodrama around the patient. It replaced and shaped every phase of the
natural environment. The only person who had his natural role and who lived his own life in the
drama was the patient. We people around him assumed roles which fitted him.
Psychodrama v. 1 p. 221
Psicoterapia de Grupo y Psicodrama p. 343
Psicoterapia de Grupo e Psicodrama p. 328

PSYCHODRAMATIC TECHNIQUE/DOUBLE
TECHNIQUE/DEFINITION
The technique of the double. The shortest definition is that two persons, A and B are one and the
same person. This is another illustration of the psychodramatic logic. B acts as the double of A and is
accepted by A as such. The degree of nonacceptance and the conflict derived from it between the
individual and his double is an important phase in double catharsis.
Who Shall Survive? p. 723
Fundamentos de la Sociometria não há
Quem Sobreviverá? v. 3 p. 218

(9) The technique of the double duplicates the unconscious processes; it is a consciously executed
“folie a double”. (It is different from what is called “folie a deux” because the double ego is a
therapist and supposedly a normal individual). The double provides A with an auxiliary
unconscious. Just like A also B has a double. The double of B provides B also with an auxiliary
unconscious (Fig. 3). The result is that the normal, twoway communication between A and B is
extended and becomes an eight-way communication, between A and B, B and A, A and B1, B1 and
A, A1 and B, B and A1, A1 and B1, B1 and A1. In the double technique the protagonist is an active
participant.
Psychodrama v. 2 pp. 52-53
Las Bases de la Psicoterapia p. 96
Fundamentos do Psicodrama p. 67

20. Double technique is the most important therapy for lonely people, therefore important for
isolated, rejected children. A lonely child, like a schizophrenic patient, may never be able to do a
role reversal but he will accept a double.
Psychodrama v. 2 p. 157
Las Bases de la Psicoterapia p. 257
Fundamentos do Psicodrama p. 173

Double
The patient portrays himself, an auxiliary ego is asked also to represent the patient, to “establish
identity with the patient”, to move, act, behave like the patient. ... The auxiliary ego becomes the link
through which the patient may try to reach out into the real world.
Psychodrama v. 3 p. 240
Psicoterapia de Grupo y Psicodrama p. 138
Psicoterapia de Grupo e Psicodrama p. 123

PSYCHODRAMATIC TECHNIQUE/DOUBLE TECHNIQUE/HISTORY

Now, this idea of double is as old as civilization. It is found in the great religions. It has always
been my idea that God created us twice. One time for us to live on in this world and other time for
himself. So what you see on the stage in such a production … you see two people who are really the
same person. … The double is a trained person, trained to reproduce the same patterns of activity, the
same patterns of feelings, the some patterns of thought, the some patterns of verbal communication
with the patient produces.
Moreno, J. L. “Psychodramatic Production Techniques”, p. 244 in Group Psychotherapy, v.
iv, nº 4, March, 1952.
Psicoterapia de Grupo y Psicodrama pp. 120-121
Psicoterapia de Grupo e Psicodrama p. 107
 The double technique. A new development is one in which Jonathan now directs his mother to take
his part: “You be Jonathan and I’ll be Jonathan, two Jonathans”, or as a half-way role reversal and
also a complete double: “You are Mummy and I’m Mummy too, two Mummies.” This is evidence of
the close tie existing between the double and role reversal techniques.
Psychodrama v. 2 p. 148
Psicoterapia de Grupo y Psicodrama pp. 247-248
Psicoterapia de Grupo e Psicodrama p. 232

PSYCHODRAMATIC TECHNIQUE/DOUBLE TECHNIQUE/MIRROR

TECHNIQUE
... 2) A session can be so designed that the individual treated does not act himself, but is a
spectator sitting in the audience; his own problem is portrayed on the stage by a double, a
professional auxiliary ego. The therapeutic value here comes from spectator catharsis. The planning
of the stage action can be as highly organized as the subject requires it. It can be entirely spontaneous,
or it can be rehearsed like a theatrical production. As the subject is not taking part, it is his
spontaneity as a spectator upon which the therapeutic effect is based.
Psychodrama v. 3 p. 184
Psicoterapia de Grupo y Psicodrama pp. 369-370
Psicoterapia de Grupo e Psicodrama p. 350

PSYCHODRAMATIC TECHNIQUE/DOUBLE TECHNIQUE/MOTHER–

CHILD RELATIONSHIP
What theoretical concepts are involved in constructing the double as an instrument of therapy? First
in the metaphoric sense we envision that after conception the embryo and the mother are enjoined in
the sharing of food and of locus until the child is born.
Moreno, J. L. “Psychodramatic Production Techniques”, p. 244 in Group Psychotherapy, v.
iv, nº 4, March, 1952.
Psicoterapia de Grupo y Psicodrama p. 121
Psicoterapia de Grupo e Psicodrama p. 107

It is the state of the infant, in which mother and infant and all objects are a single whole. However,
it is then and there that for all movements, perceptions, actions and interactions the phenomenon of the
double is activated for the first time. You may say that it is there that an experiment of nature is in
progress which I have called the double.
Moreno, J. L. “Psychodramatic Production Techniques”, p. 244 in Group Psychotherapy, v.iv,
nº 4, March, 1952.
Psicoterapia de Grupo y Psicodrama p. 122
Psicoterapia de Grupo e Psicodrama p. 108

PSYCHODRAMATIC TECHNIQUE/DOUBLE TECHNIQUE/MULTIPLE

DOUBLE
The protagonist is on the stage with several doubles of himself, each portraying another part of the
patient, one as he is now, another as he was five years ago, a third as he was when at three years of
age he first heard that his mother had died, another how he may be twenty years hence. The multiple
representations of the patient are simultaneously present and act in sequence, one continuing where
the other left out.
Psychodrama v. 3 p. 240
Psicoterapia de Grupo y Psicodrama p. 138
Psicoterapia de Grupo e Psicodrama p. 123

PSYCHODRAMATIC TECHNIQUE/DOUBLE
TECHNIQUE/PSYCHOSIS
What do you see on a psychodramatic stage? You may, for example, see a certain person who is a
mental patient. This person is mentally in such a condition that communication is extremely difficult.
A nurse cannot talk to her, a doctor cannot relate to her. And then you use psychodrama in the
following way: You will take a certain person, Mary and you May say to Mary:” Now, you may have
lost any kind of contact with your father, with your mother, with your sister, with your brother. You
may have lost contact with your husband, on your fellow human beings, but if you could only talk to
yourself. If you could only talk to that person who is closest to you, with whom you are best
acquainted. If we could produce for you the double of yourself, then you would have somebody with
whom you could speak, with whom you could act together, because you belong together.
Moreno, J. L. “Psychodramatic Production Techniques”, p. 243 in Group Psychotherapy, viv,
nº 4, March, 1952.
Psicoterapia de Grupo y Psicodrama p. 120
Psicoterapia de Grupo y Psicodrama pp. 106-107

PSYCHODRAMATIC TECHNIQUE/DOUBLE
TECHNIQUE/SOLILOQUY-DOUBLE TECHNIQUE
... He may send an auxiliary ego to play the “double” of the protagonist. The double usually places
himself back of the patient and begins to soliloquize. He gets the protagonist to participate in the
soliloquy and perhaps to admit the hidden reasons he has for refusal. This technique is a “soliloquy-
double technique.
Psychodrama v. 1 p. viii Introduction to 3rd edition
Psicodrama Espanhol p. não há
Psicodrama p. 32 Introdução à 3a ediçào

PSYCHODRAMATIC TECHNIQUE/END OF A SESSION

... It is good psychodrama not to end a session with a “letdown” for the patient, but with a high
point.
Psychodrama v. 3 p. 186
Espanhol p. 378
Psicoterapia de Grupo e Psicodrama p. 338

PSYCHODRAMATIC TECHNIQUE/LEADER TENSIONS

Another method is to utilize “leader tensions” or “ethnic hostilities”, for instance, for refugees
versus Americans, Puerto Ricans versus the Negroes in the group.
 Psychodrama v. 1 p. ix Introduction to 3rd edition
Psicodrama p. não há
Psicodrama p. 33 Introdução à 3a edição

PSYCHODRAMATIC TECHNIQUE/LYING TO THE

CLIENT/JUSTIFICATION
... The polarity between reality and illusion is indispensable to metapraxie, the illusion of a real
world is just as important as the reality of an illusionary world. It is the highest triumph of
imagination and creativity to change the surface of the world in such a fashion that it appears
beautiful, however much being and pain of being may continue to exist underneath.
Theatre of Spontaneity p. 35
El Teatro de la Espontaneidad p. 69
Teatro da Espontaneidade p. 50

PSYCHODRAMATIC TECHNIQUE/MAGIC SHOP TECHNIQUE.

... An illustration of therapeutic, controlled acting out is the following Magic Shop Technique. The
director sets up on the stage a “Magic Shop”. Either he himself, or a member of the group selected by
him, takes the part of the Shopkeeper. The shop is filled with imaginary items, values of a non-
physical nature. These are not for sale, but they can be obtained in barter, in exchange for other values
to be surrendered by the members of the group, either individually or as a group. One after another,
the members of the group volunteer to come upon the stage, entering the shop in quest of an idea, a
dream, a hope, an ambition. They are expected to come only if they feel a strong desire to obtain a
value which they cherish highly or without which their life seems worthless.
Psychodrama v. 1 pp. x-xi Introduction to 3rd edition
Psicodrama Espanhol p. não há
Psicodrama p. 35 Introdução à 3a edição

PSYCHODRAMATIC TECHNIQUE/MIRROR
When the patient is unable to represent himself, in word or action, an auxiliary ego is placed on the
action portion of the psychodramatic space. The patient or patients remain seated in the group portion.
The auxiliary ego re-enacts the patient, copying his behavior and trying to express his feelings in
word and movement, showing the patient or patients “as if in a mirror” how other people experience
him.
Psychodrama v. 3 pp. 240-241
Psicoterapia de Grupo y Psicodrama pp. 138-139
Psicoterapia de Grupo e Psicodrama p. 123

PSYCHODRAMATIC TECHNIQUE/MIRROR/AIMS
... The technique of the mirror “portrays” the body image and the unconscious of A at a distance
from him so that he can see himself. The portrayal is done by an auxiliary ego, who has made a close
study of A. The same process of mirroring is also applied to B, the other partner of the pair. A and B
can see each other in the mirror of the two auxiliary egos portraying them. In the mirror technique the
protagonist is a spectator, an onlooker, he looks at the psychological mirror and sees himself.
Psychodrama v. 2 pp. 53-54
Las Bases de la Psicoterapia pp. 96-97
Fundamentos do Psicodrama p. 67

PSYCHODRAMATIC TECHNIQUE/MIRROR/CLIENT AS A
SPECTATOR
... 2) A session can be so designed that the individual treated does not act himself, but is a
spectator sitting in the audience; his own problem is portrayed on the stage by a double, a
professional auxiliary ego. The therapeutic value here comes from spectator catharsis. The planning
of the stage action can be as highly organized as the subject requires it. It can be entirely spontaneous,
or it can be rehearsed like a theatrical production. As the subject is not taking part, it is his
spontaneity as a spectator upon which the therapeutic effect is based.
Psychodrama v. 3 p. 184
Espanhol pp. 369-370
Psicoterapia de Grupo e Psicodrama p. 350

PSYCHODRAMATIC TECHNIQUE/MIRROR/DEVELOPMENT
STAGES
Let us know go to the second technique, which is also so important for the therapist. This is the
mirror technique, you’ve often seen the great experience of children looking into the mirror, infants,
you know, and then you hear that surprised laughter, that astounded look. And then they stretch out
their tongues and turn up their noses. Al l this is a great experience to them. When the child realized
that the picture in the mirror is a mirror of him that is the turning point in the growth –m and important
turning point in his concept of self
J. L. Moreno, “Psychodramatic Production Techniques” in Group Psychotherapy, Beacon
House, v. iv - March 1952, p. 245
Psicoterapia de Grupo y Psicodrama pp. 122-123
Psicoterapia de Grupo e Psicodrama p. 108

PSYCHODRAMATIC TECHNIQUE/ROLE REVERSAL

TECHNIQUE/DOUBLETECHNIQUE
The technique. A new development is one in which Jonathan now directs his mother to take his
part: “You be Jonathan and I’ll be Jonathan, two Jonathans”, or as a half-way role reversal and also a
complete double: “You are Mummy and I’m Mummy too, two Mummies”. This is evidence of the
close tie existing between the double and role reversal techniques.
Psychodrama v. 2 p. 148
Las Bases de la Psicoterapia p. 243
Fundamentos do Psicodrama p. 164

PSYCHODRAMATIC TECHNIQUE/PLAY TECHNIQUES/CHILDREN

The theatre for Spontaneity became a gathering place of malcontents and psychological rebels, the
cradle of creative revolution between 1922 and 1925. It is chiefly from there and from my book on
the Theatre for Spontaneity that the inspiration for the use of play techniques, spontaneous play
therapy, group psychotherapy and role training derived, methods which many psychoanalysts and
educators have gradually assimilated into their work.
Psychodrama v. 1 p. 6
Psicodrama Espanhol pp. 27-28
Psicodrama p. 55

The natural evolution of science has no patient with individual priorities but it is to these private
idiosyncrasies that science owes its grandiose march. It is I who showed the way for the treatment of
the non-transference groups, children and psychotics, by systematically developing the play as a
therapeutic principle.
Psychodrama v. 1 p. 6 (footnote)
Espanhol p. 28 (rodapé)
Psicodrama p. 55 (nota de rodapé)

... I visualized the healer as a spontaneous-creative protagonist in the midst of the group. My
concept of the physician as a healer, and that of theirs were very far apart. To my mind, persons like
Jesus, Buddha, Socrates and Gandhi were doctors and healers; for Freud they were probably patients.
... It was the conflict between “analytic” and “operational” methods of therapy. I don’t know
whether Freud ever got to the study of my work, or whether he took it seriously, as we were worlds
apart. I remember that ten years later, in the winter of 1923, when the opening of the Stegreiftheater
produced quite a sensation in Vienna, Dr. Theodor Reik, at one time secretary of Dr. Freud, told me
he would show Dr. Freud my book on this topic. I do not know whether he ever did, nor what Freud’s
reaction was. One thing is certain: Freud’s resistance to “acting out” was a block to the progress of
psychotherapy. He did not only fear the acting out of the patient, but if possible, even more the
consequences of his own acting out. An analysis of Freud might have disclosed that his parting ways
with Breuer was not only due to Breuer’s dislike of sex, as Freud reports, but even more to Freud’s
dislike of acting out in the role of the hypnotist * in the hypnotic trance. It is the same complex which
made him hesitant and critical of spontaneity and the play of children; to observe and analyze them,
yes; to enter into their play and act with them, no. ... It should be remembered that they were the
greatest barrier to the application of the play principle to therapy in the crucial decade from 1914
to 1924. Remember also, in connection with this, that Anna Freud and Melanie Klein published their
work on play techniques many years later, after I had established a receptive climate for them.
Who Shall Survive? p. xxvii–xxviii Preludes
Fundamentos de la Sociometria não há
Quem Sobreviverá? v. 1 p. 34 Prelúdios

PSYCHODRAMATIC TECHNIQUE/ROLE REVERSAL

TECHNIQUE
PSYCHODRAMATIC TECHNIQUE/ROLE REVERSAL
TECHNIQUE/AIMS
(8) The technique of role reversal aims to link A to the unconscious of B and B to the unconscious
of A. The therapist can induce A to free associate into the unconscious of B and he can induce B to
free associate into the unconscious of A by using the subject’s frame of reference in reverse: A free
associating as B towards A and B free associating as A towards B; thus they get as close as possible
into the depth of each other’s inside. Imagine that A and B are father and son or husband and wife;
they would have to overcome, besides their “internal” resistances which each of them have toward
their own unconscious, the interpersonal resistance they have for each other. If they are, for instance,
father and son, each may be represented in the repressed part of the other’s unconscious. Therefore by
means of role reversal they may be able to bring out a great deal of what they have stored up in the
course of years. Fig. 2.
The psychoanalytic theory of the unconscious requires, in order to meet with the situation, besides
the distinction between PCS and UCS, a distinction between them and a “counconscious”. This is no
mere play of words, I have observed in a large number of sessions that there are between mother and
infant, father and son, one lover and another, moments of “joined” inter-association. Seeing such
people at work is like digging directly into their co-unconscious.
The technique of role reversal supplements in a significant way the direct techniques of interaction
applied to pair situations.
Psychodrama v. 2 p. 52
Las Bases de la Psicoterapia pp. 94-95
Fundamentos do Psicodrama pp. 66-67

PSYCHODRAMATIC TECHNIQUE/ROLE REVERSAL

TECHNIQUE/AUXILIARY EGOS
... It is of importance that the auxiliary egos do not over-do a situation, either in terms of overacting
or in terms of overstressing and carrying on too long.
Psychodrama v. 2 p. 143
Las Bases de la Psicoterapia pp. 235-236
Fundamentos do Psicodrama p. 159

PSYCHODRAMATIC TECHNIQUE/ROLE REVERSAL

TECHNIQUE/CONCEPT
... Role reversal is a technique of socialization and self integration.
Psychodrama v. 2 p. 142
Las Bases de la Psicoterapia p. 234
Fundamentos do Psicodrama p. 158

... Reversing of roles which all the individuals and objects of one’s social universe seems to be,
at least theoretically, an indispensable requirement for the establishment of a psychodramatic
community.
Psychodrama v. 2 p. 142
Las Bases de la Psicoterapia p. 235
Fundamentos do Psicodrama p. 159

Technique of Role Reversal. Its shortest definition is that the person A becomes the person B and
that the person B becomes the person A. On the psychodramatic stage this reversal is meant as an
actuality because for certain mental patients it is an actuality. It is not fiction or “as if”. It illustrates
the revolutionary aspect of psychodramatic logic. An abbreviate form of this technique as if A takes
one of the “roles” of B and B takes one of the “roles” of A.
Who Shall Survive? p. 723
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 218

PSYCHODRAMATIC TECHNIQUE/ROLE REVERSAL

TECHNIQUE/DEVELOPMENTAL STAGES
... He takes his father, mother, sweethearts, delusions and hallucinations into himself and the
energies which he has invested in them, they return by actually living through the role of his father or
his employer, his friends or his enemies; by reversing the roles with them he is already learning many
things about them which life does not provide him. When he can be the persons he hallucinates, not
only do they lose their power and magic spell over him but he gains their power for himself. His own
self has an opportunity to find and reorganize itself, to put the elements together which may have been
kept apart by insidious forces, to integrate them and to attain a sense of power and of relief, a
“catharsis of integration” (in difference from a catharsis of abreaction).
Who Shall Survive? p. 85
Fundamentos de la Sociometria p. 78
Quem Sobreviverá? v. 1 p. 186

It is not necessary for the little child to turn metaphysical in order to believe in transformation. For
him the entire universe is alive. Using the technique of role reversal the “phenomena” turn easily into
“noumena”.
Psychodrama v. 2 p. 153
Las Bases de la Psicoterapia p. 252
Fundamentos do Psicodrama p. 170

1. Role reversal increases the strength and stability of the child’s ego; ego is here defined as
identity with himself.
2. Role reversal tends to diminish the dependency of the child upon the parent; but it tends also to
increase his ability to dominate her or him because of having gained a profound knowledge of her or
him – through inside information.
3. Frequent role reversal of the child with individuals superior to him in age and experience
increases his sensitivity for an inner life more complex than himself. In order to keep up with them on
their internal role level, which is far above the overt level of the role, he has to be resourceful. He
becomes prematurely skilled in the management of interpersonal relations.
4. The excess desire to reverse roles which mother is due to an early appreciation and perception
of her roles. Frequency of role reversal with father increases as the perception of father’s role
becomes clearer to the child.
5. The technique of role reversal is the more effective the nearer in psychological, social and
ethnic proximity the two individuals are: mother-child, father-son, husband-wife.
Psychodrama v. 2 p. 155
 Las Bases de la Psicoterapia p. 254
Fundamentos do Psicodrama pp. 171-172

19. Role reversing parents and adults replace the absence of siblings and the peer group to only
children.
Psychodrama v. 2 p. 157
Las Bases de la Psicoterapia p. 258
Fundamentos do Psicodrama p. 174

Role reversal research has brought to our attention three critical stages in the social growth of the
child: 1) The relationship to inferior, subhuman beings like animals, birds, fishes, reptiles, or insects.
2) The relation to objects: a) inanimate things like stones, water, color, light, etc; b) mancreated
things like machines and robots. 3) Relationship to superior and powerful beings: a) his parents,
adults, strangers, etc.; b) ideal beings like Santa Claus, demons, angels and God.
Psychodrama v. 2 p. 153
Psicoterapia de Grupo y Psicodrama p. 253
Psicoterapia de Grupo e Psicodrama p. 236

1. Role reversal increases the strength and stability of the child’s ego; ego is here defined as
identity with himself.
2. Role reversal tends to diminish the dependency of the child upon the parent; but it tends also to
increase his ability to dominate her or him because of having gained a profound knowledge of her or
him – through inside information.
3. Frequent role reversal of the child with individuals superior to him in age and experience
increases his sensitivity for an inner life more complex than himself. In order to keep up with them on
their internal role level, which is far above the overt level of the role, he has to be resourceful. He
becomes prematurely skilled in the management of interpersonal relations.
4. The excess desire to reverse roles which mother is due to an early appreciation and perception
of her roles. Frequency of role reversal with father increases as the perception of father’s role
becomes clearer to the child.
5. The technique of role reversal is the more effective the nearer in psychological, social and
ethnic proximity the two individuals are: mother-child, father-son, husband-wife.
6. Role reversal is an effective technique for the purpose of socializing one ethnic group to the
other. The greater the “ethnic distance” between two social groups is, the more difficult is the
application of role reversal to them.
7. The empathy of individuals or representatives of groups for the internal experiences of other
individuals or representatives of groups – what they feel, think, perceive and do – increases with the
reciprocal perception of the roles in which they operate. Therefore, the training of auxiliary egos and
doubles as well as of psychotherapists in general is in the direction of increasing their sensitivity.
8. The empathy of therapists increases with their training in role perception and role reversal.
9. Role reversal is without risk the more solidly structured the two persons are who reverse roles.
10. Role reversal is a greater risk, at times contraindicated, if the ego of one person is minimally
structured and the ego of the other maximally structured. An illustration of this is the treatment of
psychotic patients. Psychotic patients like to play the part of authorities, nurses, doctors, policemen,
or of ideal persons, for instance they like to play God, but when faced with an actual person who
embodies authority they resent interaction and role reversal.
11. Role perception is a function of role reversal.
12. Role reversal is indispensable for the exploration of interpersonal relations and small group
research.
13. Every parent is a natural but untrained auxiliary ego. To be an effective auxiliary ego to one’s
own child every parent needs professional training. Auxiliary ego technique should be applied when
there is a clear indication for it. For instance, a parent complains that his child has the tendency to
throw stones at dogs and cats, or to hit them. The therapist must realize that the day may come when
he will throw stones at another child or a grown up.
14. If auxiliary ego animation is done to excess it may excite the child unnecessarily. It may not
always be indicated to animate every object or animal surrounding a child.
15. The memory of the child is in his act, not in his memory. The act hunger of the child causes his
memory to be short-lived. The acts follow one another so swiftly that the memory spans between them
are short.
16. The shorter the memory span, the greater the frequency of starts and every start requires some
spontaneous fuel in order to emerge. This explains the apparently uninterrupted spontaneity of
children. In lieu of memory they have spontaneity.
Psychodrama v. 2 pp. 155-156
Psicoterapia de Grupo y Psicodrama pp. 255-257
Psicoterapia de Grupo e Psicodrama pp. 238-239

PSYCHODRAMATIC TECHNIQUE/ROLE REVERSAL

TECHNIQUE/EMPATY
7. Empathy of individuals or representatives of groups for the internal experiences of other
individuals or representatives of groups – what they feel, think, perceive and do – increases with the
reciprocal perception of the roles in which they operate. Therefore, the training of auxiliary egos and
doubles as well as of psychotherapists in general is in the direction of increasing their sensitivity.
8. The empathy of therapists increases with their training in role perception and role reversal.
Psychodrama v. 2 p. 155-156
Las Bases de la Psicoterapia p. 255
Fundamentos do Psicodrama p. 172

PSYCHODRAMATIC TECHNIQUE/ROLE REVERSAL

TECHNIQUE/ETHNIC ISSUES
6. Role reversal is an effective technique for the purpose of socializing one ethnic group to the
other. The greater the “ethnic distance” between two social groups is, the more difficult is the
application of role reversal to them.
Psychodrama v. 2 p. 155
Las Bases dela Psicoterapia p. 255
Fundamentos do Psicodrama p. 172

PSYCHODRAMATIC TECHNIQUE/ROLE REVERSAL

TECHNIQUE/INDICATIONS AND CONTRAINDICATIONS
The technique of role reversal has been applied to a number of situations... ... Herewith follow a
few illustrations of a number of episodes:
1. Role reversal as a corrective for “unsocial” behavior.
2. Role reversal as a correction of general rebelliousness.
3. Role reversal as a teaching technique, to find out and become informed about things.
4. A three-way role reversal between father, mother and child, the treatment of a three-way
temper tantrum.
5. The three way locus and the three-way role reversal in the bed situation.
6. Role reversal to assume the role of authority.
7. Role reversal as a training in resignation and restraint.
Psychodrama v. 2 pp. 142-147
Psicoterapia de Grupo y Psicodrama pp. 242-247
Psicoterapia de Grupo e Psicodrama pp. 227-231

... “Falling out of the role reversal” or “falling out of the role return” is a frequent occurrence.
Existential role reversal is not possible. The nearest thing to it is psychodramatic role reversal which
is for children and certain types of psychotics as good as real.
Psychodrama v. 2 pp. 141-142
Las Bases de la Psicoterapia p. 234
Fundamentos do Psicodrama p. 158

9. Role reversal is without risk the more solidly structured the two persons are who reverse roles.
10. Role reversal is a greater risk, at times contraindicated, if the ego of one person is minimally
structured and the ego of the other maximally structured. An illustration of this is the treatment of
psychotic patients. Psychotic patients like to play the part of authorities, nurses, doctors, policemen,
or of ideal persons, for instance they like to play God, but when faced with an actual person who
embodies authority they resent interaction and role reversal.
Psychodrama v. 2 p. 156
Las Bases de la Psicoterapia p. 255
Fundamentos do Psicodrama p. 172

25. Contra-indications: a) The child uses role reversal to manipulate, dominate or punish his
parents or adults, determined to “get his way”. b) The partner in the role reversal, mother, father, etc.,
show lack of sympathy or skill in playing their part. The child is then faced with an absence of
genuine both-ways role reversal. c) Reversing roles with unrealities, imaginary companions, ideas
and dream characters, where the child is compelled to act out both parts himself. d) In order to
consolidate role reversal gains non-role playing periods are indicated.
Psychodrama v. 2 p. 157
Las Bases de la Psic p. 258
Fundamentos do Psicodrama p. 174

... In proper role reversal two individuals A and B are bodily present; A takes the part of B and B
takes the part of A. A is the real A and B is the real B; for instance, in role reversal of husband and
wife, father and son. But after the act of reversal is completed A moves back into “A” and B back
into “B”, that is, the “role return” to the primary self. “Falling out of the role reversal” or “falling out
of the role reversal” is a frequent occurrence. Existential role reversal is not possible. The nearest
thing to it is psychodramatic role reversal which is for children and certain types of psychotics as
good as real. Role reversal is a technique of socialization and self integration.
Psychodrama v. 2 pp. 141-142
Psicoterapia de Grupo y Psicodrama p. 241
Psicoterapia de Grupo e Psicodrama p. 227

PSYCHODRAMATIC TECHNIQUE/ROLE REVERSAL

TECHNIQUE/SOCIAL STATUS
... In role reversals with two other individuals (as in the bedsituation) or with more than two, as for
instance in the diningroom situation, the child expects to attain the advantages of the “sociometric
status” of the person with whom he reverses roles.
Psychodrama v. 2 p. 160
Las Bases de la Psicoterapia p. 261
Fundamentos do Psicodrama p. 177

PSYCHODRAMATIC TECHNIQUE/ROLE REVERSAL

TECHNIQUE/SOCRATES
I had two teachers, Jesus and Socrates; Jesus, the improvising saint, and Socrates, in a curious sort
of way the closest to being a pioneer of the psychodramatic format. ... Socrates was involved with
actual people, acting as their midwife and clarifier, very much like a modern psychodramatist would.
...but here is where my quarrel with Socrates began; the frame of reference of his dialogues was
limited to the dialecticlogical; he did not, like Jesus, enter into the totality and essence of the situation
itself. ... Socrates, in order to prove a point, chose the form of the dialogue instead of lecturing to the
crowd. He picked as his counter-protagonist a representative character, a sophist. Unconsciously
using the technique of “role reversal” he elevated the sophist and turned him into the teacher, whereas
he himself assumed the role of the ignorant pupil who asked questions. He calculated intuitively what
I had to discover after long practice, that by means of role reversal he could more easily find the
weak spots in the armor of the sophist than if he would tell him directly what the faults in his logic
were. As he carried the sophist through various dilemmas his audience became involved and the
dialogue ended with a “dialectic catharsis”.
Who Shall Survive? p. xxii–xxiii Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 29–30 Prelúdios

PSYCHODRAMATIC TECHNIQUE/ROLE REVERSAL

TECHNIQUE/TECHNIQUES
Role reversal as a corrective for “unsocial” behavior.
Role reversal as a correction of general rebelliousness.
Role reversal as a teaching and learning technique, to find out and become informed about
things.
A three-way role reversal between father, mother and child, the treatment of a three-way
temper tantrum.
 The three-way locus and the three-way role reversal in the bed situation.
Jonathan as a Philosopher of Universal Transformation.
Jonathan as an Ethnic Anthropologist.
Jonathan Turns into a Little Baby.
Jonathan uses role reversal to bolster his ego.
Role reversal to assume the role of authority.
Role reversal as a training in resignation and restraint.
Refusal of role reversal.

Psychodrama v. 2 pp. 142-150

Las Bases de la Psicoterapia pp. 235-247
Fundamentos do Psicodrama pp. 159-166

PSYCHODRAMATIC TECHNIQUE/SELF PRESENTATION

TECHNIQUE
Technique of self presentation. The subject acts in his own roles and portrays the figures which
fill his own private world. Psychodrama is here a form of individual psychotherapy. He is his own
auxiliary ego, the physician may be the other. One of the first uses of the psychodramatic technique
was in this individual form. It was and is an improvement upon psychoanalysis as a patient-physician
relationship. Erroneously, psychodrama is thought of only in its group form.
Who Shall Survive? p. 723
Funbdamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 217

Self Presentation
The protagonist presents himself, his own mother, his own father, his brother, his favorite
professor, etc.
Psychodrama v. 3 p. 239
Psicoterapia de Grupo Y Psicodrama p. 138
Psicoterapia de Grupo e Psicodrama p. 122

PSYCHODRAMATIC TECHNIQUE/SELF REALIZATION TECHNIQUE

For many weeks we had sessions with Hitler at regular intervals. We provided him with all the
characters he needed to put his plans of conquering the world into operation (technique of self-
realization).
Psychodrama v. 2 p. 316
Las Bases la Psicoterapia p. 196
Fundamentos do Psicodrama p. 213

... We provided him with all the characters he needed to put his plans of conquering the world into
operation (technique of selfrealization). He seemed to know everything in advance; many things he
presented on the stage came very close to what actually took place years later.
Psychodrama v. 2 p. 196
Las Bases la Psicoterapia p. 316
 Fundamentos do Psicodrama p. 213

Self Realization
Protagonist enacts, with the aid of a few auxiliary egos, the plan of his life.
Psychodrama v. 3 p. 239
Psicoterapia de Grupo e Psicodrama p. 138
Psicoterapia de Grupo e Psicodrama p. 122

PSYCHODRAMATIC TECHNIQUE/SOLILOQUY
Soliloquy
A monologue of the protagonist in situ, for example, the patient is preparing to go to bed, combing
her hair, speaks to herself: “Why don’t I cut my hair short again? It is such a nuisance, this long hair.
On the other hand, it really suits me better this way and I don’t look like everybody else.”
Psychodrama v. 3 p. 239
Psicoterapia de Grupo y Psicodrama p. 138
Psicoterapia de Grupo e Psicodrama p. 123

PSYCHODRAMATIC TECHNIQUE/SOLILOQUY/DIFFICULTIES
A spontaneous subject who is entirely absorbed in the role is unable to soliloquize either in
regard to himself or in regard to the role. It is with that part of his ego which is not swept into it,
hypnotized by the role, that he can soliloquize (6). The weaker the role absorption by the ego, the
more often can the ego soliloquize.
Psychodrama v. 1 p. 210
Psicoterapia de Grupo y Psicodrama p. 309
Psicoterapia de Grupo e Psicodrama p. 292

PSYCHODRAMATIC TECHNIQUE/SYMBOLIC TECHNIQUE

A further method of breaking resistance is the “symbolic technique”, starting on a symbolic
production so that fear of private involvement is eliminated as a cause of resistance.
Psychodrama v. 1 p. ix
Psychodrama Espanhol p. não há
Psicodrama p. 32

PSYCHOGEOGRAPHIC MAPPING
The psychogeographic mapping of the community shows, first, the relationship of local geography
to psychological processes; second, the community as a psychological whole and the inter-relations
of its parts, families, industrial units, etc.; third, the existence of psychological currents which break
group lines, as racial, economic, social, sexual and cultural currents.
Who Shall Survive? p. 440
Fundamento de la Sociometria p. 291
Quem Sobreviverá? v. 2 p. 286
PSYCHOGEOGRAPHICAL PROJECTION
... This process of courtship is a psychogeographical projection of the white girls in the
population growing out of their need and longing for the former environment. As soon as the colored
girls are moved into the same quarters with the white, the psychogeographical fiction fades.
Who Shall Survive? p. 415
Fundamentos de la Sociometria p. 281
Quem Sobreviverá? v. 2 p. 264

PSYCHOLOGICAL GEOGRAPHY.
The mapping of the entire community, the depicting of the interrelationships of its inhabitants and of
its collectives in respect to (a) locality and to (b) the psychological currents between them is
psychological geography.
Who Shall Survive? p. 416
Fundamentos de la Sociometria p. 282
Quem Sobreviverá? v. 2 p. 264

... If the sociograms of each individual group of a community were combined into a graph, the
sociogram of each family, factory, church, etc., depicting also the psychological currents which flow
from individuals in one group to the individuals in the other groups, then a picture of a community
results which is geographic and psychological at the same time, its psychological geography.
Who Shall Survive? p. 440
Fundamentos de la Sociometria p. 291
Quem Sobreviverá? v. 2 p. 286

PSYCHOLOGICAL NETWORK
More or less permanent structures which bind individuals into canalized formations, so-called
“psychosocial networks” have been discovered” .The forming of public opinion, the transmission of
rumors, the “grapevines” cannot be understood by the investigation of individual attitudes only, even
if the number of attitudes explored go to millions.
Moreno, J. L. “The Three Branches of Sociometry” Sociometry Monographs nº 21, Beacon
House 1947, p. 7
Psicoterapia de Grupo y Psicodrama p. 54
Psicoterapia de Grupo e Psicodrama p. 49

PSYCHOMUSIC
There are two forms of psychomusic, both still in an experimental stage: a) the organic form –
instruments are eliminated, the organism becomes, singly or in groups, the sole musicodramatic agent;
b) the instrumental form – instruments are reintroduced, but as functions and extensions of the musical
spontaneity the human organism is able to produce, not as its master and conserver.
Psychodrama v. 1 p. 278 Similar, missing only the third form
Psicodrama Espanhol p. 130
 Psicodrama p. 115

Psychodrama stimulated me to a parallel effort in behalf of music which I have called

psychomusic.
Psychodrama v.1 p. 277
Psicomúsica y Sociodrama p. 12, Horme
Psicodrama p. 333

... But just as drama in the form of psychodrama, also music in the form of psychomusic can
become an active function for every man in his daily life. According to my psychomusical theory, the
first step consists of the analytic elimination of the pretentious scaffolds of the age-old system of
musical production and a return to more primitive ways which probably have been in operation at the
cradle of musical experience.
Psychodrama v. 1 p. 278
Psicomúsica y Sociodrama pp. 12-13, Horme
Psicodrama p. 334

There are two forms of psychomusic, both still in an experimental stage: a) the organic form –
instruments are eliminated, the organism becomes, singly or in groups, the sole musicodramatic agent;
b) the instrumental form – instruments are reintroduced, but as functions and extensions of the musical
spontaneity the human organism is able to produce, not as its master and conserver.
Psychodrama v. 1 p. 278
Psicomúsica y Sociodrama pp. 13-14, Horme
Psicodrama p. 334

... In a psychomusical session the warming up of the audience can be produced by many methods.
One of the most effective methods is the organic form. ... The psychomusical director produces before
the group short musical signs, lasting no longer than a few seconds, each accompanied by dramatic,
esthetic gestures, arms, hands, head and legs, rhythmic movements on the stage which supplement and
substantiate the singing expression. It is a combination of psychomusic with mute psychodrama. These
musical warming up gags are unprepared by the director, they emerge spontaneously from him, thus he
is rarely aware of the intellectual or symbolic significance of these actions. They are meant to infect
the audience with a spontaneous singing enthusiasm. The actual session begins with a subject getting
upon the stage and portraying real or imagined situations – as in psychodramatic routine, after a short
conference with the director. The dialogue is replaced by singing exclamations accompanied by
gestures and movements. The semantic content of these exclamations may be a nonsensical
combination of vowels and consonants. ... Every exclamation uttered by the subject on the stage is
echoed by the entire audience like a chorus. Often they imitate his pantomimic gestures.
Psychodrama v. 1 pp. 279-280
Psicomúsica y Sociodrama pp. 17-18, Horme
Psicodrama pp. 335-336

... The aim of psychomusical work is psychomusical catharsis. The catharsis accomplished
depends upon the degree of participation and the degree to which spontaneity is individually and
collectively aroused.
Psychodrama v. 1 p. 280
Psicomúsica y Sociodrama pp. 17-18, Horme
Psicodrama p. 337

PSYCHOMUSIC/BUSINESS OF THE MUSICIANS

... The business of the musicians now is not at all to illustrate or interpret this story, not to produce
a musical duplicate of it, but to inspire and to help psychic movements which lead to the release of
musical associations. These acts of transference work like catalizers to chemical reaction and can be
compared to blood transfusions.
Psychodrama v. 1 p. 284
Psicodrama Espanhol p. não há
Psicodrama p. 340

PSYCHOMUSIC/HISTORY
In New York, during 1930 and 1931, I renewed my efforts of the Viennese Stegreiftheater period to
develop an impromptu orchestra and found an ensemble of musicians in Jack Rosenberg and his
associates, Louis Ackerman, Joseph Gingold, Samuel Jospe, Eli Lifschei and Isaac Sear, members of
the New York Philharmonic Orchestra. ... The impromptu orchestra had its first public hearing at the
Guild Theatre, New York, April 5, 1931. It was in the pre-swing days and stimulated the
development of swing music.
Psychodrama v. 1 p. 281
Psicomúsica y Sociodrama p. 18, Horme
Psicodrama p. 337

PSYCHOMUSIC/IMPROVISATION IN MUSIC
Improvisation in music has always been exercised by the masters. But it was rather an indication of
the over-bubbling soul than clear consciousness of its significance. Only the finished product had
“real value”. ... Improvisation was never a focus in itself.
Psychodrama v. 1 p. 281
Psicomúsica y Sociodrama p. 19, Horme
Psicodrama p. 337

In music I found that, as in the impromptu drama, improvisation by one individual was
comparatively simple, but that improvisation by a group produced new difficulties.
... The members of our small ensemble started the group experiment blindly, first relying only upon
the ear, without a preconceived idea of how to cooperate. ... The gypsy’s musical improvisation is
very effective but he improvises only on a crude and primitive level. ... We had, therefore, to study
the conditions of effective cooperation ourselves, and to discover some practical rules.
Psychodrama v. 1 pp. 281-282
Psicomúsica y Sociodrama pp. 19-20, Horme
Psicodrama p. 338

One element seems to be of great importance for the development of an orchestral Impromptu. It is
to find a method by which to influence the imagination, to increase inspiration.
Psychodrama v. 1 p. 283
Psicomúsica y Sociodrama p. 22, Horme
Psicodrama p. 339

PSYCHOSIS
We come now to consider the type of patient with whom communication of any sort is reduced to a
minimum. The more sketchy and incomplete the ego, the more articulate and through has to be the aid
supplied from outside by an auxiliary ego. The more disturbed the mental organization of the patient
seems to be, the larger are the number of aids the auxiliary ego has to contribute and the greater is the
need for his initiative. ... The reality, as it is usually experienced, is replaced by delusional and
hallucinated elements. The patient needs more than an auxiliary ego, he needs an auxiliary world.
Psychodrama v. 1 p. 327
Psicodrama Espanhol p. 342
Psicodrama p. 220

... For the psychotic patient his psychosis is existentially valid. Every psychodramatic session is an
existential experience and can provide fundamental information for a sound theory of existence.
Psychodrama v. 2 p. 217
Las Bases de la Psicoterapia p. 345
Fundamentos do Psicodrama p. 231

VI. Origins of Anxiety and the “Transformation Hunger”

In Schizophrenia

Anxiety is cosmic; fear is situational. Anxiety is provoked by a cosmic hunger to maintain

identity with the entire universe (perhaps to restore the original identity of the infant in the matrix of
identity). This cosmic hunger manifests itself in a) “retrojection”, drawing and receiving from other
organisms signals, ideas or feelings, to add strength to the self (expansion) or to find identity with
himself (confirmation); or b) dread of all organisms with whom he cannot co-act and share existence;
psychodramatically speaking, with whom he cannot reverse roles. These dreads are provoked by his
desire to be transformed into them as his only definite assurance of having identity. The cosmic
hunger of the child strives towards “world” realization. Self realization is only a stage in-between.
Psychodrama v. 2 p. 154
Psicoterapia de Grupo y Psicodrama pp. 253-254
Psicoterapia de Grupo e Psicodrama pp. 236-237

I often heard schizophrenic patients in a psychodramatic situation say: “I want to be a chair, a tree,
a dog, or, I want to be God”. They declare that the chair talks to them and that it is alive. The
explanation for the transformation hunger may be that they want to change into the things which talk to
them or communicate with them in other ways. If a chair talks to him he wants to become a chair; if a
dog talks to him he wants to become a dog. In extreme cases he will try to play the part of a dog in all
earnestness. Identity would provide him with assurance of safety.
 Psychodrama v. 2 p. 154
Psicoterapia de Grupo y Psicodrama p. 254
Psicoterapia de Grupo e Psicodrama p. 237

PSYCHOSIS/AUXILIARY-EGO
... The function of the auxiliary ego is to transform himself into a state of mind which enables him
to produce at will a role, if necessary similarly confused in appearance to that which the patient
experiences by compulsion.
Psychodrama v. 1 p. 221
Psicodrama Espanhol p. 343
Psicoterapia de Grupo e Psicodrama p. 328

PSYCHOSIS/AUXILIARY WORLD
We molded an auxiliary psychodrama around the patient. It replaced and shaped every phase of the
natural environment. The only person who had his natural role and lived his own life in the drama
was the patient. We people around him assumed roles which fitted him.
Psychodrama v. 1 p. 221
Psicodrama Espanhol p. 343
Psicoterapia de Grupo e Psicodrama p. 328

PSYCHOSIS/INTERVIEW
Preliminary to the psychodramatic treatment itself, in the interview preparing the patient for the
treatment, tracing with him the syndrome, which may provide the material for the firs shock situation.
A form of catharsis takes place in the patient which operates largely on the intellectual level.
Moreno, J. L. “Psychodramatic Shock Therapy” in “Group Psychotherapy and
Psychodrama”, Beacon House, v. xxvii, nº1-4, 1974, p. 6.
Psicoterapia de Grupo y Psicodrama p. 348
Psicoterapia de Grupo e Psicodrama p. 332

PSYCHOSIS/PSYCHODRAMA
Psychodramatic procedure tries to recreate the panorama of the psychosis. The break-up of the
patient’s social atom, his new experiences of his own self, the break–up of the auto-tele and its
replacements, the replacement of the individuals and objects, in the social atom by new
constellations, come back into the bodily and mental experience of the patient.
Moreno, J. L. “Psychodramatic Shock Therapy”, A Sociometric Approach to the Problem of
Mental Disorders in “Group Psychotherapy and Psychodrama”, v. xxvii, nº 1-4, 1974, p. 5
Psicoterapia de Grupo y Psicodrama pp. 146-147
Psicoterapia de Grupo e Psicodrama p. 331

... It appears that to such individuals who have reached the stage of a well organized mental
disorder the enactment of the inner world within a dramatic context is indispensable. The need for the
drama can be temporarily choked, for instance, by sleep or shock therapies. But the fundamental need
for the realization of certain fantastic imageries cannot be “shocked away”. Unless the subject is
reduced to a brain invalid by surgery or prolonged shock treatments, the temporarily scared patient is
bound to relapse and reproduce the same type of aspiration he had before treatment began.
Psychodrama v. 1 pp. 18-19
Psicodrama Espanhol p. 43
Psicodrama p. 68

... So the crux of the matter is that acting out be tolerated and allowed to take place within a setting
which is safe for execution and under the guidance of therapist who are able to utilize the experience.
Psychodrama v. 1 p. x
Psicoterapia de Grupo y Psicodrama p. 367
Psicoterapia de Grupo e Psicodrama p. 348

PSYCHOSIS/SOCIAL ATOM
As we have indicated, in the normal social atom an individual has, besides the tele relationships to
other persons, a tele relationship towards himself. Since, in the psychotic sociogram, the individual is
replaced by numerous roles, the relationship of the individual to himself is replaced by a relationship
of every role to itself. The original “auto”-tele is thus broken up into several units. Consequently, the
relationship between the individual and his social atom is replaced by a relationship between his
roles and the personae.
Moreno, J. L. “Psychodramatic shock Therapy” in “Group Psychotherapy and
Psychodrama”, Beacon House, v. xxvii, n º 1-4, 1974, p. 16
Psicoterapia de Grupo y Psicodrama p. 360
Psicoterapia de Grupo e Psicodrama p. 342

On the basis of the ratios of interest for their own and for outside groups, of the distribution of
attraction and repulsion within a group and toward outside groups, of the ratio of attraction, a group
has for other groups, and other statistical calculations, a social quotient of a group can be developed.
Who Shall Survive? p. 254
Fundamentos de la Sociometria p. 187
Quem Sobreviverá? v. 2 p. 126
Q

QUOTIENT
QUOTIENT/CULTURAL QUOTIENT
... Just as the intelligence test measures the mental age of an individual, the role test can measure
his cultural age. The ratio between the chronological age and the cultural age of an individual may
then be called his cultural quotient.
Psychodrama v. 1 pp. 161-162
Espanhol p. 223
Psicodrama p. 215

QUOTIENT/SPONTANEITY QUOTIENT
... There is something like a talent for spontaneity work. There are individuals whose spontaneity is
generally superior to that of others, just as there are individuals who appear to be more talented only
in respect to some specific performance. This spontaneity which an individual can summon when
placed in roles and situations which are totally strange to him – in proportion to the amount of
spontaneity exhibited by a large number of other individuals when faced with situations which are
equally strange to them – determines his spontaneity quotient. The spontaneity quotient of an
individual does not necessarily rise and fall with his intelligence quotient. There are many
individuals of high intelligence who have a low degree of general spontaneity (although they may be
highly spontaneous along a special line).
... This may perhaps be so because, in the civilization of conserves which we have developed,
spontaneity is far less used and trained than, for instance, intelligence and memory. The sense for
spontaneity, as a cerebral function, shows a more rudimentary development than any other important,
fundamental function of the central nervous system. This may explain the astonishing inferiority of
men when confronted with surprise tactics.
The study of surprise tactics in the laboratory shows the flexibility or the rigidity of individuals
when faced with unexpected incidents. Taken by surprise, people act frightened or stunned. They
produce false responses or none at all. It seems that there is nothing for which human beings are more
illprepared and the human brain more ill-equipped than for surprise.
Theatre of Spontaneity pp. 39-40
El Teatro de la Espontaneidad pp. 74-75
Teatro da Espontaneidade p. 54

... We may not change the intelligence level of an idiotic child, but we may give him through
Spontaneity Training a fuller life at the level of his capacity, and orient him to it.
Psychodrama v. 1 p. 132
Psicodrama Espanhol p. 186
Psicodrama p. 184
QUOTIENT/SPONTANEITY QUOTIENT/MOTION PICTURE
The production of a motion-picture consists of two stages: the presentation of the film before the
public – and it is with the film at the moment of presentation that we are dealing here – and the actual
creation of the film at some previous time and place. This, the actual creation of the film, corresponds
to the production and preparation of a drama. The presentational phase of the film- what we used to
consider as the essence of the theatre – is eliminated.
... What has remained is a canvas filled with moving, up-to-date hieroglyphs. Like the book, when
it is in its merchandise situation – which is to say, being read by someone – makes the presence of the
living personality of the author unnecessary, the film, too, suppresses the actual process which
brought about its existence.
Theatre of Spontaneity p. 54
El Teatro de la Espontaneidad p. 99
Teatro da Espontaneidade p. 69

QUOTIENT/SPONTANEITY QUOTIENT/THEATRE
Just as spontaneity scale and spontaneity quotients for individuals can be constructed, I have found
it useful to arrange all forms and combinations of the theatre on a scale which shows their respective
quotients of spontaneity. This scale runs from one extreme, whose prototype is the motion-picture
film, to the other, whose prototype is the spontaneity theatre.
... On a spontaneity scale, the puppet theatre would come a few points away from the mechanical
principle typified by the film; in the puppet theatre there is a spontaneity quotient involved – however
minimal. This spontaneity quotient looms larger in other forms of the theatre, in the legitimate drama,
for instance. However, mechanical careful rehearsal may tend to make the play, the amount of
spontaneity which trickles through is nevertheless greater than in a puppet theatre.
Theatre of Spontaneity pp. 53-54
El Teatro dela Espontaneidad pp. 98-99
Teatro da Espontaneidade p. 69
R

RACIAL QUOTIENT
... From the social interaction of the members and their emotional expansiveness a group
expression results, its point of saturation for a certain racial element, its racial quotient.
Who Shall Survive? p. 410
Fundamentos de la Sociometria p. 277
Quem Sobreviverá? v. 2 p. 260

RACIAL SATURATION POINT

… We must determine the saturation point of the majority group for the minority group and organize
the population within the critical geographical area accordingly. By the saturation point we mean here
the size of the minority group which the majority group can absorb without producing social tensions
and wars between the two.
Who Shall Survive? p. 560
Fundamentos de la Sociometria p. 379
Quem Sobreviverá? v. 3 pp. 126-127

The racial saturation point is therefore a highly complex phenomenon; it emerges first in the small
social systems and can be noticed in the attraction-repulsion patterns emerging between the native and
the foreign population. It is there where it must be checked. It is not a function of the numerical size of
the two groups but depends upon the structure of each group and the structure of their interaction.
Who Shall Survive? p. 564
Fundamentos de la Sociometria p. 383
Quem Sobreviverá? v. 3 p. 131

The saturation point: is the point of maximum absorption of a population in power for a minority
group, the point which a population cannot exceed if it is to prevent a break-out of frictions and
various disturbances. A given population may be saturated with a certain minority group at a given
time. If an excess of members of the minority group move into the community from the outside in
numbers exceeding this point, the delicate balance begins to break. In the case of a chemical solution
its point of saturation for a certain substance may change, for instance, with the rise or fall of
temperature. In the case of social groups, the point of saturation may change with the organization of
the inter-related groups. Who Shall Survive? pp. 721-722
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 216

RACISM
 11. Children have no “spontaneous” aversion for others races and nationalities.
Who Shall Survive? p. 701
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 191

REALITY
... The reality function operates by interpolations of resistance which are not introduced by the
infant, but which are imposed upon him by other persons, their relationships, by things and distances
in space, and by acts and distances in time.
Psychodrama v. 1 p. 72
Psicodrama Espanhol p. 115
Psicodrama p. 123

REGRESSION
... Regression is a form of compulsive playing, a form of role playing, playing to the tune of rule
conserves; the acting out of regressive patterns offers certain advantages to the individual acting, they
relax the patient because they reduce his involvement with the complicated present situation to a
minimum; he can replace the expected response to the current situation by a simple one and so live
with a low amount of spontaneity. Resistance is a function of spontaneity, it is due to a decrease of
loss of it. Projection is a function of imagination. Sublimation becomes a function of creativity.
Who Shall Survive? p. liv Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 57 Prelúdios

RELIGION
... Men like Josiah, Mohamed and Francis of Assisi had a sense of the drama knew of a form of
mental catharsis incomparably deeper than that of the Greeks,...
Psychodrama v. 1 p. 8
Psicodrama Espanhol p. 30
Psicodrama p. 57

The advent of sociometry cannot be understood without appraising my presociometric background

and the historicideological setting in the Western world, during and after the First World War.
Marxism and psychoanalysis, the two opposites, each had spent their theoretic bolt, the one with
Nikolai Lenin’s “State and Revolution” (1917), the other with Sigmund Freud’s “Civilization and Its
Discontents” (1929). The two opposites had one thing in common: they both rejected religion, they
both disavowed the idea of a community which is based on spontaneous love, unselfishness and
sainthood, on positive goodness and naive cooperativeness. I took a position contradictory to both,
the side of positive religion. The fact that Christianity, Buddhism, Judaism and other religions of the
past have had limited success did not prove that the concept of religion itself had failed. My
contention was that religion should be tried again, a religion of a new sort, its inspirations modified
and its techniques improved by the insights which science has given up – and by no means excluding
some of the insights which Marxism and psychoanalysis have brought forth. My position was
threefold: first, the hypothesis of spontaneity-creativity as a propelling force in human progress,
beyond and independent from libido and socio-economic motives - which does not deny the fact that
they are frequently interwoven, but which does deny the contention that they are merely a function and
a derivative; second, the hypothesis of having faith in our fellowmen’s intentions – outside of
obedience resulting from physical and legalistic coercion – the hypothesis of love and mutual sharing
as a powerful, indispensable working principle in group life; and third, the hypothesis of a
superdynamic community based upon these principles which can be brought to realization through
newer techniques.
Who Shall Survive? p. xiv–xv Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 pp. 22-23 Prelúdios

RESISTANCE
The term resistance is used here in an operational sense. It means merely that the protagonist does
not want to participate in the production. How to overcome his initial resistance is a challenge for the
therapist’s skill.
Psychodrama v. 1 p. viii
Psicodrama Espanhol p. não há
Psicodrama p. 32

... Hypothesis VII: The forces of resistance of the patient against cure are weakened or pacified by
making acting out techniques official and legitimate parts of the therapeutic procedure.
Psychodrama v. 2 p. 98
Las Bases de la Psicoterapia p. 166
Fundamentos do Psicodrama p. 114

RESISTANCE/AUXILIARY EGO
... It may very well be that the auxiliary ego comes to the realization that one or two such episodes
may have a cathartic value for the patient, but that the repetition may become harmful. He might then
step in and suggest that the situation be reversed – that the auxiliary ego be Napoleon and the patient
be the little man. If the patient does not accept, the auxiliary ego may further explain that he has had
enough suffering and refuses to act. This kind of resistance may be classified as “resistance for
therapeutic reasons”. Then there may be a kind of resistance which is private in nature. The auxiliary
ego may feel that, by playing the role of an intimate friend in that particular episode, he is getting
personally involved and hurt.
Psychodrama v. 1 p. xvi
Psicodrama Espanhol p. não há
Psicodrama pp. 41-42

RESISTANCE/SOCIOMETRIC TEST
... Sociometric procedures should be greeted favorably as they aid in bringing to recognition and
into realization the basic structure of a group. But such is not always the case. They are met with
resistance by and even with hostility by others. ... This psychological status of individuals may be
called their degree of sociometric consciousness. The resistance against sociometric procedures is
often due to psychological and educational limitations.
Who Shall Survive? p. 94
Fundamentos de la Sociometria p. 84
Quem Sobreviverá? v. 1 pp. 194-195

The first difficulty which one ordinarily meets is ignorance of what sociometric procedure is. A
full and lucid presentation, first perhaps to small and intimate groups, and then in a town meeting if
necessary, is extremely helpful. ... Another reaction is one of fear and resistance, not so much against
the procedure as against its consequences for them.
... The resistance seems at first sight paradoxical as it crops up in face of an actual opportunity to
have a fundamental need satisfied. An explanation of this resistance of the individual versus the group
is possible. It is, on the one hand, the individual’s fear of knowing what position he has in the group.
To become and to be made fully conscious of one’s position may be painful and unpleasant. Another
source of this resistance is the fear that it may become manifest to others whom one likes and whom
one dislikes, and what position in the group one actually wants and needs. The resistance is produced
by the extra-personal situation of an individual, by the position he has in the group. He feels that the
position he has in the group is not the result of his individual make-up only but chiefly the result of
how the individuals with whom he is associated feel towards him. He may even feel dimly that there
are beyond his social atom invisible tele-structures which influence his position. The fear against
expressing the preferential feelings which one person has for others is actually a fear of the feelings
which the others have for him.
Who Shall Survive? pp. 94-95
Fundamentos de la Sociometria pp. 84-85
Quem Sobreviverá? v. 1 p. 195

Other individuals also showed fear of the revelations the sociometric procedure might bring. The
fear is stronger with some people, and weaker with others. One may be most anxious to arrange one’s
relationships in accord with actual desires; another may be afraid of the consequences. ... These and
other remarks reveal a fundamental phenomenon, a form of interpersonal resistance, a resistance
against expressing the preferential feelings which one has for others. This resistance seems at first
sight paradoxical as it crops up in face of an actual opportunity to have a fundamental need satisfied.
An explanation of this resistance of the individual versus the group is possible. It is, on the one hand,
the individual’s fear of knowing what position he has in the group. To become and to be made fully
conscious of one’s position may be painful and unpleasant. Another source of this resistance is the
fear that it may become manifest to others whom one likes and whom one dislikes, and what position
in the group one actually wants and needs.
Who Shall Survive? pp. 585-586
Fundamentos de la Sociometria pp. 400-401
Quem Sobreviverá? v. 3 pp. 153–154

30. If a sociometric test is given in a community, the resistance against participation and giving a
truthful response to the sociometric questions will be the greater, the larger the part of the population
which is not included in the test; in Hudson, f. i., the staff was in some instances left out from the tests;
they were to be chosen or rejected by the girls, but the staff members themselves were not asked to
choose and reject in return. Interviews revealed that this produced uneasiness on both sides. The girls
feared that it might leak out that they had rejected some of their own housemothers and other persons
in authority and the housemothers resented that they had not been given a chance to express their own
feelings towards the girls and the reasons for them and so they expressed them the more intensively,
in the grapevines. In order to break the resistance to participation it is therefore indicated that
“all” members of a given population be made subjects and objects of the test.
31. Resistance against participation in the sociometric test is often due to fear of revealing hostility
felt towards certain members of the group; the reasons may be a) religious of ethical, for instance, “it
is unchristian to reject another person, and still worse, to say so”; or b) pragmatic, “it may become
known that I rejected certain persons and they may retaliate in kind”. If these objections are shared
by a large number of individuals of the community, it is preferable to limit the sociometric test to
the choice level. The level of sociometric consciousness of a given population determines the
safety mark, the extent of the sociometric test (choice, rejection, neutrality).
32. In order to break resistance against participation in psychodrama situations several techniques
can be applied: a) ask the members to present a problem which they have in common, for instance, a
group of individuals living in a given housing project, all facing dispossession. If the members of an
audience are directly in an actual problem, persecuted because of their ethic characteristics or
threatened with dispossession of their homes, etc., their resistance to participation is low,
regardless whether they are actors of spectators.
33. If the problem is not real but “as if” the resistance to participation decreases with the increase
of the number of participants from the audience. “Participation in action” of all members of the
audience is then the desideratum.
Who Shall Survive? pp. 710-711
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 pp. 201-202

RESISTANCE/SPONTANEOUS ACTOR
In the course of testing a large number of individuals we arrived at the following conclusions: the
spontaneous actor is confronted with four forms of resistance which he must overcome in order to
reach spontaneity states, (a) resistances which come from his own bodily actions in the presentation
of roles, (b) resistances which come from his private personality in the production of ideas, (c)
resistances which come from the bodily actions, the ideas and emotions of the other actors working
with him, and (d) resistances which come from the audience. The latter two are inter-personal
resistances. It is behind and underneath these barriers and resistances that the true, great theatre of
poetic inspiration and production lies.
Theatre of Spontaneity p. 49
El Teatro de la Espontaneidad pp. 90-91
Teatro da Espontaneidade p. 64

RESISTANCE/TO DRAMATIZE
... The two partners are on the stage, for instance, but refuse to enact any of the crucial situations
which they have disclosed during the interviews. The director tries to get them started by shifting
their attention rapidly from one plot to another. This may put their minds at comparative ease and
make them willing to work. If this brings no result, he will suggest that they can pick any subject at
random, or anything which they would like to tell one another at the moment. If this also is without
effect, the director may suggest that they project upon the stage any of the more pleasant situations in
which they may have found themselves in the past (when they were first in love), or any situation
which would express how they would have wished their marriage to develop (perhaps having a baby
or a large family), or a situation in the future which would express any change they might like to have
in their life-situation. If these do not bring any results, there still remains the choice of symbolic
situations and symbolic roles for which they may have affinity or which might be constructed for
them. If all this does not have the effect of an actual start, the director does not plead or insist too
strongly, but sends the subjects back to their seats.
Psychodrama v. 1 pp. 338-339
Psicodrama Espanhol p. não há
Psicodrama pp. 397-398

A further method of breaking resistance is the “symbolic technique”, starting on a symbolic

production so that fear of private involvement is eliminated as a cause of resistance.
Psychodrama v. 1 p. ix
Psicodrama Espanhol p. não há
Psicodrama p. 32

Another “resistance remover” is the use of significant relations existing between members of the
group. The director, for instance, knows that there is a rivalry between two individuals, A and B. he
may invite them to fight it our on the stage: “Let the group evaluate who is fair and who is unfair”.
... An effective technique to break resistance is to use comical themes or caricatures in order to
arouse the sense of humor of the members.
Last but not least, particular attention should be given to resistance which is directed against the
“private” personalities of the chief therapist or of the auxiliary egos. In such cases, the therapist or
auxiliary egos may have to be replaced, and it may even be necessary to restructure the group itself so
as to meet the needs of the patient.
It is up to the resourcefulness of the director to find clues to get the production started and, once it
is started, to see that it grows further along constructive lines. The causes for patient’s resistance may
thus be summarized as being private, social or symbolic.
Psychodrama v. 1 p. ix
Psicodrama Espanhol p. não há
Psicodrama p. 33

RETROJECTION
On the social plane we have isolated the factor tele which is able to give the direction which the
expansion of the self takes. In order to understand the operations of the tele, it is useful to differentiate
between projection and what can be called “retrojection”. Projection is usually defined as “throwing
upon others persons one’s ideas and assuming that they are objective, although they have a subjective
origin.” Retrojection is drawing and receiving from other persons (it can be extended to all the
dimensions and subsidiaries) their ideas and feelings, either to find identity with one’s own
(confirmation) or to add strength to the self (expansion).
 The organization of the self within the individual organism begins early in life. It is universal
phenomenon and observable in every individual. In certain individuals the power of retrojection is
enormously developed. We call them geniuses and heroes. If a man of genius knows what the people
or the time needs and wants he is able to do this by the retrojective power of the self, that is, by a tele
process, not by projection. They assimilate with enormous ease the experience others have, not only
by drawing it from the people but because others are eager to communicate their feelings to them.
They recognize these experiences as similar or identical with their own and integrate them into their
self; that is how they are able to swell it to enormous expansion. When they lose their mandate, the
calling of the self vanishes and the self shrinks.
Theatre of Spontaneity pp. 8-9
El Teatro de la Espontaneidad p. 35
Teatro da Espontaneidade pp. 21-22

RETROPATHY
... This tendency towards “balance”, the tendency of the emotions “going out from” – empathy –
and “returning to” the center individual – retropathy – of a social atom to offset and to “equalize”
each other, was so frequently encountered in out studies that we have come to regard it as a particular
phenomenon of the social atom.
Who Shall Survive? p. 365
Fundamentos de la Sociometria p. 244
Quem Sobreviverá? v. 2 p. 224

REVOLUTION
REVOLUTION/CREATIVE REVOLUTION
The greatest, longest, most difficult, most unique of all wars man has ever waged during his career,
sounds its call to you. … It is not a war against nature, it is not a war against other animals, it is not a
war of one human race, nation or state against any other. It is not a war of one social class against
another social class. It is a war of man against ghosts, ghosts that have been called, and not without
reason, the greatest makers of comfort and civilization. They are the machine, the cultural conserve,
the robot.
Psychodrama v. 1 p. 44
Psicodrama Espanhol p. 79
Psicodrama p. 94

REVOLUTION/TREE REVOLUTIONS PSYCHIATRIC

The most important Revolution of the great political revolutions in Europe was the French
Revolution of 1789 which set in motion a new vision for the world, Liberté, Egalité, Fraternité and
became a model for similar revolutions elsewhere…
It is in the atmosphere of the great revolution that the emancipation of the insane from chains,
symbolized by Philippe Pinel, took place (1793)…
The next important step, era of the Second Psychiatric Revolution in the course of the nineteenth
century was the development of psychotherapy.
 The era of the third Psychiatric Revolution, with an élan therapeutique of it own, is now in
progress and is still developing in our time… This revolution has many facets… However the final
and most important facet is the development of group and action methods, because they facilitate and
integrate the benefits of all revolutionary methods enumerated above…
Moreno, J. L. The first Psychiatric Revolution and The Scope of Psychodrama. Group
Psychotherapy, Beacon House, June-September, 1964, nº 2-3, pp. 149-171
Psicoterapia de Grupo y Psicodrama p. 32
Psicoterapia de Grupo e Psicodrama p. 28

ROBOTS
Robot derives from a Polish word robota, to work. My idea of the “zootechnical animal” (1918)
was popularized a few years later by Karl Czapek in a play “Rossom’s Universal Robots”, 1921; he
coined the term robot. The term is not adequate as in the zootechnical animal not only work but also
destruction is implied. Thus in my definition the working robot can become ferocious and vice versa.
A better term than robot might have been genie. According to the Arabic use there were good and bad
spirits among them who assumed the form of animals, giants and so forth. The robot is really a
“zoomaton”, zoo, from Greek zoon, animal (zoo, live), automaton, a Greek word, neut. of automatos,
autos, self, mao, strive after.
Who Shall Survive? p. 599 (footnote)
Fundamentos de la Sociometria p. 411
Quem Sobreviverá? v. 3 p. 168 (nota de rodapé)

... These odds enemies are technical animals which can be divided into two classes, cultural
conserves and machines. The more popular word for them is robots.
Who Shall Survive? p. 600
Fundamentos de la Sociometria p. 411
Quem Sobreviverá? v. 3 p. 168

A human infant results from the conjugation of a man and a woman. A robot results from the
conjugation of man with nature itself.
Who Shall Survive? p. 603
Fundamentos de la Sociometria p. 415
Quem Sobreviverá? v. 3 p. 172

ROBOT/MAN
The greatest, longest, most difficult, most unique of all wars man has ever waged during his career,
sounds its call to you. ...It is not a war against nature, it is not a war against other animals, it is not a
war of one human race, nation or state against any other. It is not a war of one social class against
another social class. It is a war of man against ghosts, ghosts that have been called, and not without
reason, the greatest makers of comfort and civilization. They are the machine, the cultural conserve,
the robot.
Psychodrama v. 1 p. 44
Psicodrama Espanhol p. 79
 Psicodrama p. 94

Two forms of robots have emerged, one a helper of man and builder of his civilization – the other a
menace to its survival and a destroyer of man.
Psychodrama v. 1 p. 44
Psicodrama Espanhol p. 79
Psicodrama p. 94

ROBOTS/FUTURE
The battle between zoon (living animal) and zoomaton (mechanical animal) approaches a new
peripety. The future of man depends upon counterweapons to be developed by somiometry, sociatry,
bioatry and similar disciplines.
Who Shall Survive? p. 606
Fundamentos de la Sociometria p. 417
Quem Sobreviverá? v. 3 p. 175

... It seems to me that zoomatics, which emphasizes the semblance between mechanism and
organism, is a happier term for this science than cybernetics, which means steersman.
Who Shall Survive? p. 607
Fundamentos de la Sociometria p. 418
Quem Sobreviverá? v. 3 p. 175

ROBOTS/HOW TO LIVE WITH THEM

... The countermeasure lies in a cold appraisal of the situation, a systematic study of the causations
underlying the invention of mechanical devices, the origin of the robot in human nature and beyond it,
a careful calculation of the “socio-atomic organization of mankind”. In other words, we should bring
the problem into full scientific consciousness and develop parallel with sociometry a zootechnique, a
science of the technical animals.
Who Shall Survive? p. 601
Fundamentos de la Sociometria p. 413
Quem Sobreviverá? v. 3 p. 170

ROBOTS/HUMAN REASONS FOR ITS INVENTION

The invention of robots is a skill of homo sapiens. ... Why should man want robots? It is perhaps
the same reason, in reverse, as the one which at an earlier period made us want a God to whom we
were robots. ... Our relationship to God may be simply this – he needs a lot of helpers in order to put
his creation over. Man too, has a program of living, of creation on a minor scale, he needs helpers
and weapons to defend himself against enemies.
... There must be a deeper and additional reason why we wanted and created the technological
kind. An analysis of spontaneouscreative processes broadened my understanding of the problem.
Infants, immediately after birth demonstrate that the less spontaneity being has the more it requires
some one who has it, in order to survive. The infant lives on borrowed spontaneity. The humans who
are at the beck and call of a helpless, crying infant, who come and carry, feed and comfort it, I call
auxiliary egos. ... The infant wants its auxiliary egos perfect, that is, to have all their ready
spontaneity available for him, the infant, and none for the egos, themselves. This offers a clue for
understanding the relationship between the idea of the auxiliary ego and the idea of the robot.
Who Shall Survive? pp. 601-602
Fundamentos de la Sociometria pp. 413-414
Quem Sobreviverá? v. 3 p. 170–171

ROBOTS/IMMORTALITY
... The book is a robot par excellence. Once off the press, the parent, the producer, the author is
immaterial; the book goes to all places and to all people, it does not care where it is read and by
whom. Many robots have further in common the attribute of comparative immortality. A book, a film,
an atomic bomb, they do not perish in the human sense, the same capacity is always there, they can be
reproduced ad infinitum.
Who Shall Survive? pp. 600-601
Fundamentos de la Sociometria p. 412
Quem Sobreviverá? v. 3 p. 169

ROBOTS/PATHOLOGICAL CONSEQUENCES
... The pathological consequences are enormous. Man turns more and more into a function of
cultural and technological conserves, puts a premium on power and efficiency and loss credence in
spontaneity and creativity.
Who Shall Survive? pp. 604-605
Fundamentos de la Sociometria p. 416
Quem Sobreviverá? v. 3 p. 173

The fate of man threatens to become that of the dinosaur in reverse. The dinosaur may have
perished because he extended the power of his organism in excess of its usefulness. Man may perish
because of reducing the power of his organism by fabricating robots in excess of his control.
Who Shall Survive? p. 604
Fundamentos de la Sociometria p. 415
Quem Sobreviverá? v. 3 p. 173

ROBOTS/TOYS/DOLLS
... These observations were confirmed by the attitude which children show towards dolls. The doll
does not have the often unpleasant counter-spontaneity which real human beings have, but it has still
some physical and tangible reality which pure fantasy companions do not have. ... Here he gets the
first taste of the robot which he can destroy at will and which may one day go out and act as decreed
by him. Dolls seem to make the child free – independent from other children and from adults.
Who Shall Survive? pp. 602-603
Fundamentos de la Sociometria p. 414
Quem Sobreviverá? v. 3 p. 171

... The robot, like the auxiliary ego, makes man free from man and gives him an artificial sense of
wellbeing and power.
Who Shall Survive? p. 603
 Fundamentos de la Sociometria p. 414
Quem Sobreviverá? v. 3 p. 172

... But robots cannot produce an ounce of spontaneity.

Who Shall Survive? p. 603
Fundamentos de la Sociometria p. 415
Quem Sobreviverá? v. 3 p. 172

ROLE
ROLE/BEGINNING OF THE CONCEPT
Role, originally an old French word which penetrated into medieval French and English, is
derived from the Latin “rotula”. In Greece and also in ancient Rome, the parts in the theater were
written on “rolls” and read by the prompters to the actors who tried to memorize their part by heart;
this fixation of the word role appears to have been lost in the more illiterate periods of the early and
middle centuries of the Dark Ages.
Psychodrama v. 1 p. iv Introduction to 3rd edition
Psicodrama Espanhol p. não há
Psicodrama p. 27 Introdução à 3a edição

Role is thus by origin a sociological or psychiatric concept; it came into the scientific vocabulary
via the drama.
Psychodrama v.1 p. iv Introduction to 3rd edition
Psicodrama Espanhol p. não há
Psicodrama p. 27 Introdução à 3a edição

The term role itself comes from the language of the stage.
Who Shall Survive? p. 76
Fundamentos de la Sociometria p. 70
Quem Sobreviverá? v. 1 p. 179

ROLE/CATEGORIES OF ROLES
In the course of this triangle study it was observed that a role required by one person may be absent
in his or her partner in a close relationship and that the absence of a role can have serious
consequences for a relationship. As a general rule, a role can be (1) rudimentarily developed,
normally developed, or overdeveloped (positive tele); a role can be (2) almost or totally absent in a
person (indifference); and a role can be (3) perverted into a hostile function (negative tele). A role in
any of the above categories can also be classified from the point of view of its development in time:
(a) it was never present; (b) it is present towards one person but not present towards another; (c) it
was once present towards a person bur is now extinguished.
Psychodrama v. 1 pp. 333-334
Psicomúsica y Sociodrama, pp. 108, Horme
Psicodrama p. 392
 ... The roles do not need to be defined – they define themselves as they emerge from status nascendi
to full mature shape. Some roles are postulated by a legal situation (the lawyer, the criminal), some
are postulated by a technological situation (such as a radio announcer), or some are postulated by a
physiological situation (the eater), but it is only during psychodramatic work that we can study how
they take form spontaneously.
Psychodrama v. 1 p. 340
Psicomúsica y Sociodrama, pp. 120, Horme
Psicodrama p. 399

ROLE/COMPLEMENTARY ROLE
... The therapist, in turn, can be caught in experiencing the patient in complementary roles. Careful
observation of therapists in situ added fuel to this point of view. They “look” and “act” a certain part
already marked by their gestures and facial expression. I concluded then that “Every individual, just
as he is the focus of numerous attractions and repulsions appears, also, as the focus of numerous roles
which are related to the roles of other individuals. Every individual, just as he has at all times a set of
friends and a set of enemies, also has a range of roles and faces a range of counter-roles. They are in
various of development. The tangible aspects of what is known as ‘ego’ are the roles in which he
operates.”
Psychodrama v. 2 p. 8
Las Bases de la psicoterapia p. 24
Fundamentos do Psicodrama p. 23

ROLE/CLUSTERS EFFECT
3.Roles are not isolated; they tend to form clusters. There is a transfer of s from unenacted roles to
the presently enacted ones. This influence is called cluster effect.
Psychodrama v. 1 p. 175
Psicodrama Espanhol p. 241
Psicodrama p. 230

ROLE/CONCEPT
Role is the functioning form the individual assumes in the specific moment he reacts to a specific
situation in which other persons or objects are involved.
Psychodrama v. 1 p. iv Introduction to 3rd edition
Psicodrama Espanhol p. não há
Psicodrama p. 27 Introdução à 3a edição

The role can be defined as a unit of synthetic experience into which private, social and cultural
elements have emerged.
Psychodrama v. 1 p. 184
Psicodrama Espanhol p. 253
Psicodrama p. 238

“Every role is a fusion of private and collective elements … A role is composed of two parts – its
collective denominator and its individual differential.
Psychodrama v.1 p. 62 (notes)
Psicodrama Espanhol p. 103 (notas)
Psicodrama p. 113 (notade rodapé)

THE SAME IN

Who shall survive p. 75

Fundamentos de la Sociometria p. 69
Quem sobreviverá v. 1 p. 178

A spectator is capable of experience the role process on the stage because every role in him has
two sides, a collective side and a private differential.
Psychodrama v.1 p. 389
Psicomúsica y Sociodrama, p.198, Horme
Psicodrama p. 449

The concept underlying this approach is the recognition that man is roleplayer, that every
individual is characterized by a certain range of roles which dominate his behavior, and that every
culture is characterized by a certain set of roles which it imposes with a varying degree of success
upon its membership.
Who Shall Survive? p. 88
Fundamentos de la Sociometria p. 81
Quem Sobreviverá? v. 1 p. 189

ROLE/DEVELOPMENT OF
Out of the breach between reality and fantasy, two new sets of roles emerge. As long as this breach
did not exist, all real and fantasy components were merged into one set of roles, psychosomatic roles.
An illustration is the role of the eater. But from the division of the universe into real and fictitious
phenomena gradually a social world and a fantasy world emerge separated from the psychosomatic
world in the matrix of identity. Forms of role playing are now emerging which correlate the infant to
persons, things, and goals in an actual setting outside of himself, and to persons, objects and goals
which he imagines are outside of him. They are called respectively social roles [the parent] and
psychodramatic roles [the god].
Psychodrama v. 1 p. 73
Psicodrama Espanhol p. 116
Psicodrama pp. 124-125

The growth of the reversal strategy of the child is an indicator of the freedom from the auxiliary
ego, the mother or the mother-substitute.
Psychodrama v. 1 p. 63
Psicodrama Espanhol p. 104
Psicodrama p. 114
 ... The infant lives before and immediately after birth in an undifferentiated universe which I have
called “matrix of identity”. This matrix is existential but not experienced. It may be considered as the
locus from which in gradual stages the self and its branches, the roles, emerge.
Psychodrama v. 1 p. iii Introduction to 3rd edition
Psicodrama Espanhol p. não há
Psicodrama p. 25 Introdução à 3a edição

ROLE/G.H.MEAD/CRITICISM
It is a “myth” that the American sociologist, G. H. Mead, has had a major influence upon the
psychiatric “role concept” and its psychopathology.
... G.H. Mead’s posthumous book, Mind, Self and Society, appeared in December 1934, about a
year later than my Who Shall Survive? which was released in January 1934. At no time does Mead
use the term role player, role playing, or role playing techniques, or deal with the psychopathological
implications of the role concept.
Psychodrama v. 1 p. ii Introduction to 3rd edition
Psicodrama Espanhol p. não há
Psicodrama p. 24 Introdução à 3a edição

ROLE/HISTORY
It is often overlooked that modern role theory had its logical origin and its perspectives in the
drama. It has a long history and tradition in the European theater from which I gradually developed
the therapeutic and social direction of our time. I brought it to U.S.A. in the middle twenties.
Psychodrama v. 1 p. iv Introduction to 3rd edition
Psicodrama Espanhol p. não há
Psicodrama p. 27

ROLE/MATRIX OF IDENTITY
... The infant lives before and immediately after birth in an undifferentiated universe which I have
called “matrix of identity”. This matrix is existential but not experienced. It may be considered as the
locus from which in gradual stages the self and its branches, the roles, emerge.
Psychodrama v. 1 p. iii Introduction to 3rd edition
Psicodrama Espanhol p. não há
Psicodrama p. 25 Introdução à 3a edição

ROLE/MULTIPLE ROLES
... But the individual craves to embody far more roles than those he is allowed to act out in life,
and even within the same role one or more varieties of it. Every individual is filled with different
roles in which he wants to become active and that are present in him in different stages of
development. It is from the active pressure which these multiple individual units exert upon the
manifest official role that a feeling of anxiety is often produced.
Psychodrama v. 1 p. v Introduction to 3rd edition
Psicodrama Espanhol p. não há
 Psicodrama p. 28 Introdução à 3a edição

... Everybody is expected to live up to his official role in life – a teacher is to act as a teacher, a
pupil as a pupil, and so forth. But the individual craves to embody far more roles than those he is
allowed to act out in life and even one or more varieties within the same role. Every individual is
filled with different roles which he wants to become active in and that are present in him in
different stages of development. It is from the active pressure which these multiple individual units
exert upon the manifest official role that a feeling of anxiety is often produced.
Who Shall Survive? p. 535
Fundamentos de la Sociometria p. 357
Quem Sobreviverá? v. 3 p. 99

ROLE/PSYCHODRAMATIC ROLE
... The psychodramatic roles and their transactions to help the infant to experience what we call the
“psyche”.
Psychodrama v.1 p. iii Introduction to 3rd edition
Psicodrama Espanhol p. não há
Psicodrama p. 26 Introdução à 3a edição

... The roles of the mother, son, daughter, teacher, etc. are called social roles and are set aside from
the personification of imagined things, both real and unreal. The latter are called psychodramatic
roles.
Psychodrama v. 1 p. 77
Psicodrama Espanhol p. 120
Psicodrama p. 129

... The roles of a mother, a teacher, a Negro, a Christian, etc., are psychodramatic roles.
Who Shall Survive? p. 76
Fundamentos de la Sociometria p. 70
Quem Sobreviverá? v. 1 p. 178

ROLES/PSYCHOSOMATIC ROLES
... The first roles to emerge are the physiological or psychosomatic roles. We know that
“operational links” develop between the sexual role, the role of the sleeper, the role of the dreamer,
and the role of the eater, which tie them together and integrate them into a unit. At a certain point we
might consider it as a sort of physiological self, a “partial” self, a clustering of the physiological
roles.
Psychodrama v. 1 p. iii Introduction to 3rd edition
Psicodrama Espanhol p. não há
Psicodrama pp. 25-26 Introdução à 3a edição

... It may be useful to think of the psychosomatic roles in the course of their transactions helping the
infant to experience what we call the “body”;...
 Psychodrama v. 1 p. iii Introduction to 3rd edition
Psicodrama Espanhol p. não há
Psicodrama pp. 25-26 Introdução à 3a edição

Out of the breach between reality and fantasy, two new sets of roles emerge. As long as this breach
did not exist, all real and fantasy components were merged into one set of roles, psychosomatic roles.
Psychodrama v. 1 p. 73
Psicodrama Espanhol p. 116
Psicodrama p. 124
.

... Long before language-linked roles emerge in the child’s world, “psychosomatic roles” operate
effectively (for instance, the role of the eater, the sleeper and the walker). There is considerable
psychic resistance against the intrusion of language in infants and even some resistance against
gestural infiltration. There is no reason to assume that the language-free areas are non-human.
Who Shall Survive? p. 76
Fundamentos de la Sociometria p. 69
Quem Sobreviverá? v. 1 p. 178

ROLE/ROLE-PLAYING
... Sociodrama is introducing a new approach to anthropological and cultural problems, methods of
deep action and of experimental verification. The concept underlying this approach is the recognition
that man is a role-player, that every individual is characterized by a certain range of roles which
dominate his behavior, and that every culture is characterized by a certain set of roles which it
imposes with a varying degree o success upon its membership.
Psychodrama v. 1 pp. 354-355
Psicomúsica y Sociodrama, pp. 141-142, Horme
Psicodrama pp. 413-414

Role-player is a literal translation of the German word “Rollenspieler” which I have used. See
“Das Stegreiftheater” Pp. 31, 36, 63. It may be useful differentiate between role-taking – which is the
taking of a finished, fully established role which does not permit the individual any variation, any
degree of freedom – role-playing – which permits the individual some degree of freedom – and role-
creating – which permits the individual a high degree of freedom, as for instance, the spontaneity
player. A role, as defined in this paper, is composed of two parts – its collective denominator and
its individual differential.
Psychodrama v. 1 pp. 354-355 (footnote)
Psicomúsica y Sociodrama, pp. 142, Horme
Psicodrama pp. 413-414 (nota de rodapé)

... When the Spontaneity Instructor recognizes the pupil to be lacking in certain states, e.g., courage,
joy, etc., he plays him in a specific situation, in which such a state is unsuitable or expedient. The
pupil “plays” that situation, he dramatizes the state, impromptu. ... In other words, if lacking in
courage, he “plays” courage until he learns to be courageous.
Psychodrama v. 1 p. 141
Psicodrama Espanhol p. 195
Psicodrama p. 193

... Playing the role of the “other” does not appear suddenly and full-grown to the infant, but goes
through several stages of development which overlap and often work hand in hand.
The first stage is that of the other person being a part of the infant in all earnestness – that is,
complete spontaneous allidentity. The second stage is that of the infant centering attention upon the
other stranger part of him.
The third stage is that of the infant lifting the other part from the continuity of experience and
leaving all other parts out, including himself.
The fourth stage is that of the infant placing himself actively in the other part and acting its role.
The fifth stage is that of the infant acting in the role of the other towards someone else, who in turn
acts in his role. With this stage, the act of reversal of identity is complete.
Psychodrama v. 1 pp. 61-62
Psicodrama Espanhol p. 102
Psicodrama p. 112

20. The skill in the playing of roles is essential for adequate communication and development of
the social self.
21. The ability to play collective roles is important for personality formation and adaptation.
Who Shall Survive? p. 707
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 198

... Children use this method intuitively. When it is consciously and systematically used for the
purpose of training, it is called “role” playing (2). Playing a role is the personification of other
forms of existence through the medium of play. It is a specialized form of play, although the word
playing is often accompanied by misleading connotations, reduced to the adult’s interpretation of it.
Role playing was the fundamental technique in the Viennese Spontaneity Theater. Because of the
dominant role which spontaneity and creativity have in role playing it was called spontaneous-
creative role playing.
... “Role” playing can be used as a technique of exploration and expansion of the self into an
unknown universe. It is probably for the child the method par excellence to encounter and, if
possible, to solve a situation which puzzles him.
Psychodrama v. 2 p. 140
Las Bases dela Psicoterapia pp. 231-232
Fundamentos do Psicodrama pp. 156-157

... A methodology which enables us to compare each of them under conditions of control are
roleplaying techniques.
Psychodrama v. 2 p. 13
Las Bases de la Psicoterapia p. 31
 Fundamentos do Psicodrama p. 27

ROLE/ROLE PLAYING/HISTORY
... The earliest experience with role-playing techniques has been made in the testing of auxiliary
therapists placed within the framework of standard situations** in an experimental psychodrama.
** “A Frame of Reference for Testing the Social Investigator”, Sociometry, Vol. III, pp. 317-
327, 1940.
Psychodrama v. 2 p. 13
Las Bases de la Psicoterapia p. 31
Fundamentos do Psicodrama p. 27

ROLE/ROLE PLAYING/ROLE REVERSAL

... After the period of playing the roles of the parents and other adults in the house was over and he
had attained considerable skill, we introduced another particularly rewarding method, the technique
of role reversal (3). The idea underlying role reversal is still little understood. First let us try to
separate roleplaying from role reversal. If an individual takes the part of a doctor, a policeman or a
salesman, the part of his father or of his mother in order to “learn” how to function in these roles, that
is roleplaying. But if he and his father or his mother “change” parts, the father becoming the son and
the son the father, this is role reversal.
Psychodrama v. 2 p. 141
Las Bases de la Psicoterapia p. 233
Fundamentos do Psicodrama p. 158

ROLE/ROLE-PLAYING/ROLE THERAPY
In an earlier chapter we have described roleplaying as a diagnostic method but it can also be used
as “role therapy” to improve the relations between the members of a group. ... Roleplaying frequently
influences the results of the next sociometric test and changes the position of an otherwise
maladjusted or isolated individual. In this manner roleplaying becomes roletraining and role therapy.
Who Shall Survive? p. 503
Fundamentos de la Sociometria p. 338
Quem Sobreviverá? v. 3 pp. 63-64

ROLE/ROLE PLAYING\SPONTANEITY TEST

... The spontaneity test places an individual in a standard life situation which calls for definite
fundamental emotional reactions, called spontaneity states, as fear, anger, etc. If permitted to expand
they turn into role playing.
Who Shall Survive? pp. 104-105
Fundamentos de la Sociometria p. 94
Quem Sobreviverá? v. 1 p. 204

... The second test meeting this demand is the spontaneity and roleplaying test. Here is a standard
life situation which the subject improvises to his own satisfaction.
 Who Shall Survive? p. 105
Fundamentos de la Sociometria p. 95
Quem Sobreviverá? v. 1 pp. 204-205

... When the Spontaneity Instructor recognizes the pupil to be lacking in certain states, e.g., courage,
joy, etc., he plays him in a specific situation, in which such a state is unsuitable or expedient. The
pupil “plays” that situation, he dramatizes the state, impromptu. ... In other words, if lacking in
courage, he “plays” courage until he learns to be courageous.
Psychodrama v. 1 p. 141
Psicodrama Espanhol p. 195
Psicodrama p. 193

ROLE/ROLE PLAYING\THERAPEUTIC SITUATIONS

... Roleplaying of therapeutic situations may concentrate first on the study of the four factors which
have been shown by the investigations reported above as being of crucial importance in all patient-
therapist relationships, the “feeling for one another”, the “perception of one another”, the motoric
events – the “interacting” between them, and the “role relations” emerging to and for in an ongoing
therapeutic situation.
Psychodrama v. 2 p. 14
Las Bases de la Psicoterapia p. 33
Fundamentos do Psicodrama p. 28

ROLE/ROLE TAKING
... It may be useful to differentiate between role-taking – which is the taking of a finished, fully
established role which does not permit the individual any variation, any degree of freedom – role-
playing – which permits the individual some degree of freedom – and role-creating – which permits
the individual a high degree of freedom, as for instance, the spontaneity player.”
Psychodrama v. 1 p. 62 (footnote)
Psicodrama Espanhol p. 103
Psicodrama p. 113, (nota de rodapé)
SAME IN
Who Shall Survive? p. 75
Fundamentos de la Sociometria p. 69
Quem Sobreviverá? v. 1 p. 178

... Next in importance to spontaneity comes the process of enactment.

Who Shall Survive? p. 82
Fundamentos de la Sociometria p. 76
Quem Sobreviverá? v. 1 p. 184

... There are several forms of enactment, pretending to be in a role, re-enactment or acting out a
past scene, living out a problem presently pressing, creating life on the stage or testing oneself for the
future.
Who Shall Survive? p. 82
 Fundamentos de la Sociometria p. 76
Quem Sobreviverá? v.1 p. 184

Role taking is “being” in a role in life itself, within its relatively coercive and imperative contexts,
for instance, being a mother, a father, a policeman, etc. The roles are social conserves, they have, or
at least pretend to have, a finished form.
Role playing is “playing” a role, by choice, in a chosen setting, for the purpose of exploring,
experimenting, developing, training of changing a role. Playing a role can take the form of a test or is
an episode in the course of a psychodrama or sociodrama.
Who Shall Survive? pp. 722-723
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 217

There is a consensus in all studies made that role taking and role playing have a common origin.
The genesis of role development shows clearly how one grows out of the other, that role playing and
role taking are two phases of the same process. It has been found in hundreds of tryouts that the
process of role taking is not only cognitive and that, on the other hand, the process of role playing is
not only behavior or mere acting, but that cognition, perception, behavior and action are finely
interwoven and cannot be neatly separated. There are enactable and unenactable roles; recognized
and unrecognized roles; enactment of roles before the level of their recognition; recognition of roles
before the level of their enactment; adequate, distorted, partial and loss of role perception; adequate,
distorted, partial and inability of role enactment.
Who Shall Survive? p. 78
Fundamentos de la Sociometria pp. 71-72
Quem Sobreviverá? v. 1 p. 180

ROLE/SELF/EGO
Role emergence is prior to the emergence of the self. Roles do not emerge from the self, but the self
may emerge from roles.
Who Shall Survive? p. 76
Fundamentos de la Sociometria p. 69
Quem Sobreviverá? v. 1 p. 178

... Working with the “role” as a point of reference appears to be a methodological advantage as
compared with “personality” or “ego”. These are less concrete and wrapped up in metapsychological
mystery.
Who Shall Survive? p. 75
Fundamentos de la Sociometria p. 69
Quem Sobreviverá? v. 1 p. 185

... The tangible aspects of what is known as “ego” are the roles in which it operates.
Who Shall Survive? p. 75
Fundamentos de la Sociometria p. 69
Quem Sobreviverá? v. 1 p. 178
 “Role playing is prior to the emergence of the self. Roles do not emerge from the self, but the self
emerges from roles.”
Psychodrama v. 1 p. ii Introduction to 3rd edition
Psicodrama Espanhol p. 217
Psicodrama p. 25 Introdução à 3a edição, p. 210

Role is the unit of culture; ego and role are in continuous interaction.
Psychodrama v. 1 p. vi Introduction to 3rd edition
Psicodrama Espanhol p. não há
Psicodrama p. 29 Introdução à 3a edição

... The roles are the embryos, forerunners of the self; the roles strive towards clustering and
unification. I have distinguished physiological or psychosomatic roles, like the role of the eater, the
sleeper, and the sexual role; psychological or psychodramatic roles, as ghosts, fairies and
hallucinated roles; and then, social roles, as parent, policeman, doctor, etc.
Psychodrama v. 1 p. iii Introduction to 3rd edition
Psicodrama Espanhol p. não há
Psicodrama p. 25 Introdução à 3a edição

Working with the “role” as a point of reference appears to be a methodical advantage as compared
with “personality” or “ego”. These are less concrete and wrapped up in metapsychological
mysteriousness.
Psychodrama v. 1 p. 175
Psicodrama Espanhol p. 241
Psicodrama p. 229
THE SAME IN
Who shall survive? p. 75
Fundamentos de la Sociometria p. 69
Quem sobreviverá v. 1 p. 178

Role can be defined as imaginary person created by a dramatist, for instance, a Hamlet,... ... Role
can be defined also as a part or a character taken by an actor,... ... Role can be defined also as an
assumed character or function within social reality, for instance, a policeman, a judge,... ... Role can
be defined as the actual and tangible forms which the self takes. Self, ego, personality, character, etc.,
are cluster effects, heuristic hypotheses, metapsychological postulates, “logoids”.
Psychodrama v. 1 p. 153
Psicodrama Espanhol p. 213
Psicodrama p. 206

ROLE/SOCIAL ROLE
... and the social roles to produce what we call “society”.
Psychodrama v. 1 p. iii Introduction to 3rd edition
 Psicodrama Espanhol p. não há
Psicodrama p. 26

... The social roles develop at a later stage and lean upon psychosomatic and psychodramatic roles
as earlier forms of experience.
Psychodrama v. 1 p. v Introduction to 3rd edition
Psicodrama Espanhol p. não há
Psicodrama p. 28

The roles of the mother, the son, the daughter, the teacher, the negro, the Christian, etc., are social
roles;...
Who Shall Survive? p. 76
Fundamentos de la Sociometria pp. 69-70
Quem Sobreviverá? v. 1 p. 178

ROLE/TESTING ROLES
... For the testing of people for roles in marriage: “Show how you would act if your husband (wife)
suddenly revealed to you that he (she) was in love with another woman (man) and wanted a divorce.”
An Analysis of each performance was made in order to disclose which lines of conduct were
followed by a majority of those tested, and the amount of deviations one from the other.
Psychodrama v. 1 p. 341
Psicomúsica y Sociodrama, p. 121, Horme
Psicodrama p. 400

... Just as the intelligence test measures the mental age of an individual, the role test can measure
his cultural age.
Psychodrama v. 1 pp. 161-162
Psicodrama Espanhol p. 223
Psicodrama p. 215

A simple method of measuring roles is to use as a norm permanently established processes which
do not permit any change,... ... If a number of performers are given the instruction to use the Hamlet
text either literally as it is given by Shakespeare, or to change it freely in the course of the
performance, some will prefer the original text, others may ad lib into the text smaller of major
changes. These deviations represent the degrees of freedom of the particular performer which can be
ascribed to the operation of an s factor.
Who Shall Survive? pp. 76-77
Fundamentos de la Sociometria p. 70
Quem Sobreviverá? v. 1 p. 179

Another method of measurement uses as norms social roles which are rigidly prescribed by social
and legalistic customs and forms. Illustrations for this are social roles as the policeman, the judge, the
physician and so forth. ... Placing a number of policemen, therefore, into a number of standard life
situations which require their interference would result in a scale. On one end of the scale will be the
most adequate policeman performance in a particular situation, on the other end the most inadequate
performance in the same kind of situation.
Who Shall Survive? p. 77
Fundamentos de la Sociometria p. 70
Quem Sobreviverá? v. 1 p. 179

The role test measures the role behavior of an individual; it reveals thereby the degree of
differentiation which a specific culture has attained within an individual, and his interpretation of this
culture.
Who Shall Survive? p. 89
Fundamentos de la Sociometria p. 81
Quem Sobreviverá? v. 1 p. 189

Another method of measurement is to let a subject develop a role in statu nascendi, placing him
into a situation which is little structured, up to situations which are highly organized. The productions
of different subjects will differ greatly and will provide us with a yardstick for role measurement.
Who Shall Survive? p. 77
Fundamentos de la Sociometria p. 71
Quem Sobreviverá? v. 1 pp. 179-180

Another method of measurement is to place a number of subjects unacquainted with each other into
a situation which they have to meet in common.
Who Shall Survive? p. 77
Fundamentos de la Sociometria p. 71
Quem Sobreviverá? v. 1 p. 180

Another method is to place a number of subjects in a specific role independently and at different
times, opposite the same auxiliary ego, whose performance has been carefully prepared and highly
objectified.
Who Shall Survive? p. 78
Fundamentos de la Sociometria p. 71
Quem Sobreviverá? v. 1 p. 180

Yet another method is the study of the same role, for instance the role of the stranger, in a number
of different situations.
Who Shall Survive? p. 78
Fundamentos de la Sociometria p. 71
Quem Sobreviverá? v. 1 p. 180

The role test measures the role behavior of an individual; it reveals thereby the degree of
differentiation which a specific culture has attained within an individual, and his interpretation of this
culture.
Who Shall Survive? p. 89
Fundamentos de la Sociometria p. 81
 Quem Sobreviverá? v. 1 p. 189

RORSCHACH X PSICODRAMA
51. All tests, diagnostic and therapeutic methods used at present in clinical psychology and
psychiatry can be arranged in the form of a scale, using the degree of involvement of the protagonist
and investigator and the degree of structuring of the material to which they are exposed as points of
reference. (Moreno scale of involvement). On one extreme end of scale can be placed the inkblots
of the Rorschach Test and Rorschach analyst – minimum structuring of the material and minimum
involvement of the investigator – on the other extreme end of the scale can be placed psycho- and
sociodrama with a maximum structuring of material and maximum involvement of the protagonist
and investigators. Nearest to the Rorschach end of the scale will come picture tests like TAT,
Rosenzweig, etc., around the middle of the scale the psycho-analyzant and the psychoanalyst, nearest
to the psychodrama end of the scale will come roleplaying and behavior in life itself. Such a scale
may help the student to construct new techniques and discover their precise place in the scale.
Who Shall Survive? pp. 714-715
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 206-207

RULE
RULE/RULE OF DYNAMIC DIFFERENCE IN GROUP STRUCTURE,
PERIPHERAL VERSUS CENTRAL
... Living in the group he will soon discover that there is a deep discrepancy between the official
and secret needs, official and secret value systems. (Rule of dynamic difference in group structure,
peripheral versus central). He will also soon discover that the individuals are driven at times by
private, at other times by collective aspirations, which break up the group into another line of
cleavage. (Group cleavage produced by psycho- and sociostructuring). Before any experimental
design or any social program is proposed he has to take into account the actual constitution of the
group.
Who Shall Survive? p. 62
Fundamentos de la Sociometria pp. 67-68
Quem Sobreviverá? v. 1 pp. 166-167

RULE/PERFORMANCE
... The more often a memorized poem, a speech or a role is repeated the stronger becomes the
performance.
Psychodrama v. 1 p. 150
Psichodrama Espanhol p. 206
Psicodrama p. 203

RULE/RULE OF COACTION OF THE RESEARCHER WITH GROUP

In the warming up process of the group it is best to view all the coactors in situ and to view them
in the direction of their productivity. In order to view them you have to move with them, but how can
you move with them unless you, the experimenter, are a part of the movement, a coactor? The safest
way to be in the warming up process yourself is to become a member of the group. (Rule of
“coaction” of the researcher with group).
Who Shall Survive? p. 61
Fundamentos de la Sociomewtria p. 67
Quem Sobreviverá? v. 1 p. 166

RULE/RULE OF GRADUAL INCLUSION OF ALL EXTRANEOUS

CRITERIA
... As his learning expands knowing how to bore with research ideas from within he may get the
idea of being a member of two of more groups, one serving as a control of the other. This should not
be an experiment of nature without the conscious participation of the actors, but one consciously
and systematically created and projected by the total group. All this, of course, could only happen
if the warming up process of all human characters and all participating groups coalesce naturally into
an experiment. (Rule of “gradual” inclusion of all extraneous criteria).
Who Shall Survive? pp. 62-63
Fundamentos de la Sociometria p. 68
Quem Sobreviverá? v. 1 p. 167

RULE/RULE OF THE WARMING UP PROCESS OR ACTIVE

PRODUCTIVITY
... In order to be adequate in a particular act he should begin to warm up as near to the act as
possible and the experimenter ought to know when he begins to warm up. (Rule of the warming up
process or active productivity).
Who Shall Survive? p. 61
Fundamentos de la Sociometria pp. 66-67
Quem Sobreviverá? v. 1 p. 166

RULE/RULE OF UNIVERSAL PARTICIPATION IN ACTION

... The safest way to be in the warming up process yourself is to become a member of the group. ...
But by becoming a member of the group you are robbed of your role of the investigator who is to be
outside of it, projecting, creating, and manipulating the experiment. You cannot be a genuine member
and simultaneously a “secret agent” of the experimental method. The way out is to give every member
of the group “research status”, to make them all experimenters and as each is carrying on his “own
experiment” there are a hundred experiments and a coordination of each single experiment with every
other is required. Sociometry is the sociology of the people, by the people, and for the people; here
this axiom is applied to social research itself. (Rule of universal participation in action).
Who Shall Survive? pp. 61-62
Fundamentos de la Sociometria p. 67
Quem Sobreviverá? v. 1 p. 166
S

SCIENCE
SCIENCE/CRITICISM AGAINST
As a dialectic movement toward a genuine socioexperimental method of the future he is making
slow but real progress. Instead of hurrying to test a hypothesis by quickly constructing a control group
versus an experimental group, a pseudo-experiment with pseudo-results, he takes his time for thinking
his new situation through. ... It is better to wait until it can be truly validated instead of invalidated by
validating it prematurely.
Who Shall Survive? p. 62
Fundamentos de la Sociometria p. 67
Quem Sobreviverá? v. 1 p. 166

... The social sciences need – at least in their crucial dimension – different methods of approach.
The crux of the ontology of science is the status of the “research objects”. Their status is not
uniform in all sciences. ...how are social sciences possible? It has found that the social sciences like
psychology, sociology and anthropology require that its objects be given “research status” and a
certain degree of scientific authority in order to raise their level from a pseudo objective discipline to
a science which operates on the highest level of its material dynamics. It accomplishes this aim by
considering the research objects not only as objects but also as research actors, not only as objects
of observation and manipulation but as co-scientists and coproducers in the experimental design they
are going to set up.
Who Shall Survive? pp. 63-64
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 pp. 167-168

... The disappointment came when I discovered that the classical experimental method as
developed by Mill did not meet with the requirements of a human society in locus nascendi.
Who Shall Survive? p. 22
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 133

SCIENCE/GROUP PSYCHOTHERAPEUTIC PRACTICE VALIDATION

... Validation in individual and group psychotherapeutic practice is not imperative, as long as no
pretense is made that generalizations can be drawn from whatever the events recorded, or that the
future behavior of the participants can be predicted from the events. What matters is that the
therapeutic experiences are valid for the participants themselves, at the time they take place. Indeed, a
scientific validation would be meaningless for the participants, for the value of their experience is
self-evident. But scientific and existential validation do not exclude one another, they can be
constructed as a continuum.
 Psychodrama v. 2 p. 216
Las Bases de la Psicoterapia p. 344
Fundamentos do Psicodrama p. 231

SCIENCE/HUMAN NARCISSISM
It has been pointed out by many writers that Man’s pride as to his own status in the cosmos has
been repeatedly shocked in the last few hundred years. Copernicus showed that the earth is not the
center of the universe, but moves around the sun; it is just a speck in infinite space, ruled by specific
physical laws like the rest of the world; with Copernicus’ theory the supreme position of Man in the
cosmos was gone. Darwin showed that Man as a species is a part of a biological evolution, the
descendant of a human-like ape; with this the idea of Man as a special creation was gone. Marx
showed that human history itself is determined by mass movements, economic classes of men; the
single man, isolated from the mass is powerless. Mendel showed that the conception of the individual
soma is determined by genes. Freud showed that the individual psyche of Man does not follow his
will but is a product of unconscious drives. And finally sociometry showed by the discovery of
microscopic laws governing human relations that Man is even unfree in his own house and in the
society produced by him.
Theatre of Spontaneity p. 11
El Teatro de la Espontaneidad pp. 39-40
Teatro da Espontaneidade p. 24

SCIENCE/MAGIC BELIEFS
... It was the destiny of the scientific mind to destroy magic beliefs and to pay with a loss of
spontaneity, imagination and a divided philosophy of life. ... Science fiction is but one illustration,
Walt Disney’s fabulous world of animated characters is another; it is the use of auxiliary egos on the
level of motion pictures. The auxiliary ego technique itself is a form of primitive “psycho”-animism.
The techniques of the animistic philosopher rejected by analytic anthropologists as infantile magic is
returning on the therapeutic level and has been made productive in psychodrama. It is the return of
magic methods of the early cultures in a scientific age in behalf of new objectives.
Psychodrama v. 2 p. 154
Psicoterapia de Grupo y Psicodrama pp. 254-255
Psicoterapia de Grupo e Psicodrama p. 237

SCIENCE/MORENO - SCIENTIST
... Spontaneity could be tested and measured in an atmosphere free from the abuses of mediocrity
and religion had found a new proving ground for its tenets. Being brought up in a scientific
environment I began to develop hypotheses, procedures by which to test them and tests by which to
measure spontaneity. All this, not as a science for its own sake, but as a preliminary and
supplementary step for a theatre of spontaneity which opened its gates to the worshipper of immediate
and creative genius.
Theatre of Spontaneity p. 6
El Teatro de la Espontaneidad p. 31
Teatro da Espontaneidade p. 19
 The need for an instrument able to measure the duration of spontaneity states became imminent –
for exploratory as well as for practical aims – a spontaneity clock. As a spontaneity clock we used a
chronometer; other instruments measuring duration as metronomes may be equally useful.
Theatre of Spontaneity p. 63
El Teatro de la Espontaneidad p. 115
Teatro da Espontaneidade p. 79

SCIENCE/PSYCHODRAMATIC METHOD AND OBJECTIVITY

Reactions witnesses by psychologist and revelations given by any individual during a course of
interview, spontaneity and situation tests, casual or planned are, at least from the point of view of
cooperative, controllable research, of little value since they are after the event merely memory
impressions of the observer. The multiform interpretations offered by the subjectivists in psychology
are without proper demonstration and reconsideration as long as they do not conserve the moment. I
suggest therefore that a “talking machine should photograph the process” and that we should make
systematic use of machinery of personality recording
Moreno, J. L. “Psychorecording: Group Psychotherapy Theory and Practice”, in Group
Psychotherapy nº 2-3, v. iii, pp. 150, 1950.
Psicoterapia de Grupo y Psicodrama 281 note (similar)
Psicoterapia de Grupo e Psicodrama p. 267 note (similar)

If we consider the investigator who gives out questionnaires as being in a situation of maximum
formal objectivity then the investigator who identifies himself successively with every individual
participating in the situation approaches a maximum of subjectivity. A professional worker acting in
this fashion produces excellent therapeutic effects, but the method does not improve upon the intended
objectification of the investigator, himself.
A step beyond this is the psychodramatic method, a situation which provides an experimental
and a therapeutic setting simultaneously. Here, the director of the theatre is present, but outside the
exploratory situation, itself.
Who Shall Survive? p. 108
Fundamentos de la Sociometria p. 98
Quem Sobreviverá? v. 1 p. 207

SEINISM
.. But it is also the cradle of one of the most heroic forms of existentialism, the cradle of “Seinism”
(Sein equals being), the science of being. It went beyond a mere philosophy and phenomenology of
being; the idea of being Being was actually lived out and embodied by a few historical persons.
Being has no boundaries; it is not limited by birth and death, it includes them. ... The first principle of
this group was the “all-inclusiveness” of being, and the constant effort to maintain from moment to
moment the natural, spontaneous flow of existence uninterruptedly. No moment could be by-passed
every moment was in the being. No part could be left out because every part was a part of the being
and there was no other being. Their second principle was goodness, the natural blessedness of all
existing things. There were the idea of the “moment”, (Augen = blick), neither as a function of the
past nor of the future, but as a category in itself; the idea of the “situation” (Lage) and the challenges
emerging from it; the ideas of spontaneity and creativity as universal processes of conduct, countering
the clichés of the ethical and cultural conserves; and above all the idea of urgency, the urgency of
their immediate experience.
Psychodrama v. 2 pp. 211-212
Las Bases de la Psicoterapia pp. 337-338
Fundamentos do Psicodrama p. 226

SEINISM/JOHN KELLMER
One of the outstanding exponents of that group which tried to practice this identity with being was
John Kellmer, who, in order to taste life of a different order, gave up his university career and turned
from being a philosopher and writer into a simple farmhand, living with plain hardworking peasants.
He broke off contact with all his earlier friends and his books, never wrote another line. This, up to
the end of his life. There was no pretense in his way of life; it was just his profound desire to live a
different life from the one which had been marked off for him.
Psychodrama v. 2 pp. 211-212
Las Bases de la Psicoterapia p. 337
Fundamentos do Psicodrama p. 226

SELF
“Role playing is prior to the emergence of the self. Roles do not emerge from the self, but the self
emerges from roles.”
Psychodrama v. 1 p. II Introduction to 3rd Edition
Psicodrama Espanhol p. não há
Psicodrama p. 25 Introdução à 3a Edição

... Body, psyche and society are then the intermediary parts of the entire self.
Psychodrama v. 1 p. iii-iv Introduction to 3rd Edition
Psicodrama Espanhol p. não há
Psicodrama p. 26 Introdução à 3a Edição

SELF
SELF/ACTOR/OBSERVER
... The self appears in the warming up to a spontaneous state divided into the spontaneous actor and
an inner counteracting (participant) observer. This division is of great significance in therapeutic
work, but it is also the dynamic foundation for the tragic and comic phenomenon in the drama.
Theatre of Spontaneity p. 44
El Teatro de la Espontaneidad p. 83
Teatro da Espontaneidade p. 59

... He is forced to drill himself so that he becomes two individuals – his own private, hidden self
and the other self, the role he is to assume. It is as if he were forever jumping out of his own skin into
that of the role and back into his own again.
 Theatre of Spontaneity p. 41
El Teatro de la Espontaneidad p. 77
Teatro da Espontaneidade pp. 55-56

SELF/CREATIVE
My vision of the theatre was modeled after the idea of the spontaneously creative self. But the idea
of a spontaneous and creative self was deeply discredited and thrown into oblivion at the time when
the idee fixe urged me to fight its adversaries and bring the self back to the consciousness of mankind,
using every ounce of persuasion and drama which I could evoke.
Theatre of Spontaneity p. 5
El Teatro de la Espontaneidad p. 28
Teatro da Espontaneidade p. 17

... All three forms of materialism, however contrary to each other, had tacitly one common
denominator, a deep fear and disrespect, almost a hatred against the spontaneous, creative self (which
should not be mixed up with individual genius, one of its many representations).
Theatre of Spontaneity p. 5
El Teatro de la Espontaneidad p. 29
Teatro da Espontaneidade p. 17

SELF/DEFINITION
The self has often been defined. It is easy to agree that the individual organism and the self are not
the same thing, although they cannot be neatly separated. The self is the melting pot of experiences
coming from many directions. One of the dimension of the self is the social, another dimension is the
sexual, another is the biological, another dimension is the comic, but it is more than anyone of them.
Theatre of Spontaneity p. 8
El Teatro de la Espontaneidad p. 33
Teatro da Espontaneidade p. 20

... The self is like a river, its springs from spontaneity but it has many subsidiaries which carry
supply to it.
Theatre of Spontaneity p. 8
El Teatro de la Espontaneidad p. 34
Teatro da Espontaneidade p. 21

... By self I mean anything which is left of you and me after the most radical reduction of “us” is
made by past and future retroductionists.
Theatre of Spontaneity p. 8
El Teatro de la Espontaneidad p. 35
Teatro da Espontaneidade p. 21

... There are three possible relations between an actor and his role. In the first, he works himself
into the role, step by step, as if it were a different individuality. The more he extinguishes his private
self, the more he becomes able to “live” the role.
 Theatre of Spontaneity p. 41
El Teatro de la Espontaneidad p. 78
Teatro da Espontaneidade p. 56

... It is harder to agree as to the locus of the self. We have just specified some of the dimensions
from which it gets its supply, but the place in which it roots is another matter. My thesis is, the locus
of the self is spontaneity. Spontaneity itself is (1) deviation from the “laws” of nature and (2) the
matrix of creativity. When spontaneity is at a zero the self is at a zero. As spontaneity declines the self
shrinks. When spontaneity grows the self expands. If the spontaneity potential is unlimited, the self
potential is unlimited. One is a function of the other.
The Theater of Spontaneity p. 8
El Teatro de la Espontaneidad pp. 33-34
Teatro da Espontaneidade pp. 20-21

SELF/PARTIAL SELF/MANY SELVES

... We know that “operational links” develop between the sexual role, the role of the sleeper, the
role of the dreamer, and the role of the eater, which tie them together and integrate them into a unit. At
a certain point we might consider it as a sort of physiological self, a “partial” self, a clustering of the
physiological roles. Similarly, in the course of development, the psychodramatic roles begin to
cluster and produce a sort of psychodramatic self and finally, the social roles begin to cluster and
form a sort of social self. The physiological, psychodramatic and social selves are only “part”
selves; the really integrated, entire self, of later years is still far from being born.
Psychodrama v.1 p. iii Introduction to 3rd Edition
Psicodrama Espanhol p. não há
Psicodrama pp. 25-26 Introdução à 3a Edição

SELF/MEASURING
... If the spontaneity is “what is measured by spontaneity tests,” the self is measured by the degree
of spontaneity it has, its spontaneity quotient.
Theatre of Spontaneity p. 8
El Teatro de la Espontaneidad p. 34
Teatro da Espontaneidade p. 21

SELF/STRUCTURE OFF THE SELF

It is also difficult to agree as to the structure of the self. I have described it as a cluster of roles
(private plus collective roles). It reaches out beyond the skin of the individual organism, one of the
“beyonds” is the inter-personal realm. How far does it stretch and where does it end, is the question.
If the self of Man can expand in creativity and in power, and the whole history of Man seems to
indicate this – then there must be some relation between the idea of the human self and the idea of the
universal self of God. The modern apostles of Godlessness, when they cut off the strings which tied
Man to a divine system, a supramundane God, they cut in their enthusiastic haste a little too much,
they also cut off Man’s very self. By the same act by which they emancipated Man from God they
emancipated also Man from himself. They said God is dead, but it was Man who had died. My thesis
is therefore, that the center of the problem is neither God nor the denial of his existence, but the
origin, reality and expansion of the self.
Theatre of Spontaneity p. 8
El Teatro de la Espontaneidad p. 34
Teatro da Espontaneidade p. 21

SELFISHNESS
... In a spontaneous drama however, this simple matter can become a great obstacle. A sort of
“spontaneous unselfishness” of every player is required, to let the other speak to an end, not to
interrupt him until he has warmed up to his own climax.
Theatre of Spontaneity p. 65
El Teatro de la Espontaneidad p. 118
Teatro da Espontaneidade p. 81

SEXUALITY
1. Group attraction of the sexes develops with age; intersexual attraction begins at 2, is at a high
point between 3 to 6 years; declines after the 7th year and reaches a low point between 10 and 11;
from 11 to 14 it increases slowly. There is a first heterosexual cycle between the ages from 3 to 8
years; a first homosexual cycle between the ages of 8 to 13 years; a second heterosexual cycle
between the ages of 13 and 18 years; a second homosexual cycle between 14 and 19 years. ... In each
of these three cases an entire public school was studied, from the nursery up to the eighth grade.
Retests were made and the time variable was considered.
Who Shall Survive? pp. 699-700
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 189

9. There is a cleavage in formation between the two sexes from about seven to fourteen years, a
sexual cleavage; it reaches the high point of mutual withdrawing when the members of the group are
about tem years old. From then on the sexual cleavage begins to wane but some form of it persists
throughout the lifetime of groups. In groups of adolescents and adults in which both sexes participate
sexual “sub”cleavages are usually found.
Who Shall Survive? p. 701
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 191

SHARING
One third reorientation of forces is initiated. While he ( the protagonist) was heated to present his
problems, he also heated the audience to identify with him. He was in direct contact with the
spectators, and also all the members of the group were in contact among themselves. The group
therapy part is initiated. The members of the group express their feelings and their own experience of
similar conflicts. The patients reach a new type of catharses, the “group catharses ”, the protagonist
gave love and now the group returns the love to him. The members of the group share with him their
own worries, as he did with them and group gradually, the catharsis reaches all of the presents.. But
the process of unlock didn’t run without conflicts and not rarely some hostility and acute criticism
against the therapist can occur. The group all is in effervescence; is necessary all the art of the doctor
for finding a solution .
Group Psychotherapy and Psychodrama. No translation into English
Psicoterapia del Grupo y Psychodrama. No mention
Psicoterapia de Grupo e Psicodrama. p.103

SITUATION MATRIX
According to plan, we moved with our research further into the fifth and sixth dimension of group
structure; the situation test explores the “situation matrix”; it consists of space and time relations,
locus and movements, acts and pauses, volume of words and gestures, initiation, transfer and
termination of scenes.
Who Shall Survive? p. 348
Fundamentos de la Sociometria p. 237
Quem Sobreviverá? v. 2 p. 209

SITUATION TEST
When my idea crystalized in the early twenties, the period of my Stregreiftheater experiment, to “play out” situations and not only to
observe and analyze them, the “situation test” was born.
Who Shall Survive? p. 349
Fundamentos de la Sociometria p. 238
Quem Sobreviverá? v. 2 p. 210

SLANG
Our experiments have shown that the production of a task in slang has less resistance to overcome
than in the more highly organized official language.
... slang is a hidden and repressed language world, full of forbidden signs and images. As a child
everyone spoke it and as a child grows up he learns to censor the language of his imagination. It is a
censorship of the primitive languages – slang and children’s language – by the language of the ruling
classes – the grown-ups.
Theatre of Spontaneity p. 82
El Teatro de la Espontaneidad p. 145
Teatro da Espontaneidade p. 98

SOCIAL ATOM (SEE ATOM/SOCIAL)

SOCIAL ATOM/PSYCHOSIS
As we have indicated, in the normal social atom an individual has, besides the tele relationships to
other persons, a tele relationship towards himself. Since, in the psychotic sociogram, the individual is
replaced by numerous roles, the relationship of the individual to himself is replaced by a relationship
of every role to itself. The original “auto”-tele is thus broken up into several units. Consequently, the
relationship between the individual and his social atom is replaced by a relationship between his
roles and the personae.
Moreno, J. L. “Psychodramatic shock Therapy” in “Group Psychotherapy and
Psychodrama”, Beacon House, v. xxvii, n º 1-4, 1974, p. 16
Psicoterapia de Grupo y Psicodrama p. 360
Psicoterapia de Grupo e Psicodrama p. 342

On the basis of the ratios of interest for their own and for outside groups, of the distribution of
attraction and repulsion within a group and toward outside groups, of the ratio of attraction, a group
has for other groups, and other statistical calculations, a social quotient of a group can be developed.
Who Shall Survive? p. 254
Fundamentos de la Sociometria p. 187
Quem Sobreviverá? v. 2 p. 126

SOCIAL CHANGE
The sociometric concept of social change has four chief references: a) the spontaneity-creativity
potential of the group, b) the parts of the universal sociometric matrix relevant to its dynamics, c) the
system of values it tries to overcome and abandon and d) the system of values it aspires to bring to
fulfillment.
... In order to change the social world social experiments have to be so designed that they can
produce change;...
Who Shall Survive? p. 115
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 213

... The revolutions of the socialistic-marxistic type are outmoded; they failed to meet with the
sociodynamics of the world situation. The next social revolution will be the “sociometric” type.
Who Shall Survive? p. 115
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 213

... In other words, the avant guarde of academic social science did not have social instruments of
attack and counterattack available in a period of emergency. At last we sociometrists stepped into the
breach and developed several instruments of social change in order to harness the spontaneous-
creative forces of the community, the population test, the socio-drama, social and psychodramatic
shock methods which may well become scientific instruments of social action, preventives of
antidotes against the mass hypnotism and persuasion of purely political systems.
Who Shall Survive? p. 116
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 214

SOCIAL DISTANCE
32. Social distance and sociometric distance are not identical. Social distance expresses the
relation of symbolic groups, sociometric distance of concrete groups of individuals. Therefore, the
social distance and the sociometric distance of a group may vary greatly.
Who Shall Survive? p. 704
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 194

SOCIAL ENTROPY
27. Hypothesis of sociodynamic decline, social entropy. The cooling off of the emotional
expansiveness of the members of a given community or the sociodynamic decline of interest in others
has reached its climax when the influx of any new members into the community does not arouse its
inhabitants to new choices: the collective spontaneity has reached its zero, its social entropy. Social
entropy reaches its maximum when choices and rejections are entirely extinct. Indifference alone
prevails. The group spontaneity has “withered away” and is replaced by an aggregation of
individuals entirely left to change.
Who Shall Survive? pp. 708-709
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 200

SOCIAL FUNCTION VERSUS PSYCHOLOGICAL

FUNCTION
The colored population is housed in cottages separate from the white. But in educational and social
activities white and colored mix freely. These and similar aspects can be termed the “social
organization of the community”. And whatever the “social structure” of a particular cottage may be it
is necessary to ascertain the psychological function of each of its members and the “psychological
organization” of the cottage group. The social function of a girl, for instance, may be that of
supervising the dormitory, but her psychological function may be that of a housemother pet who is
rejected by the members of her group and isolated in it. These emotional reactions and responses
among the girls of the group must result in a dynamic situation, its “psychological organization”.
Who Shall Survive? p. 220
Fundamentos de la Sociometria p. 158
Quem Sobreviverá? v. 2 pp. 97-98

SOCIAL QUOTIENT
On the basis of the rations of interest for their own and for outside groups, of the distribution of
attraction and repulsion within a group and toward outside groups, of the ratio of attraction, a group
has for other groups, and other statistical calculations, a social quotient of a group can be developed.
Who Shall Survive? p. 254
Fundamentos de la Sociometria p. 187
Quem Sobreviverá? v. 2 p. 126

SOCIAL REALITY
 ... By social reality I mean the dynamic synthesis and interpenetration of the two. It is obvious that
neither the matrix nor the external are real or can exist by themselves, one is a function of the other to
produce the actual process of social living.
Who Shall Survive? p. 79
Fundamentos de la Sociometria p. 72
Quem Sobreviverá? v. 1 p. 181

SOCIAL TRICOTOMY
29. The greater the contrast between official society and the sociometric matrix the more intensive
is the social conflict and tension between them. Social conflict and tension increases in direct
proportion to the sociodynamic difference between official society and sociometric matrix.
Who Shall Survive? p. 710
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 201

It is heuristic value to differentiate the social universe into three tendencies or dimensions, the
external society, the sociometric matrix and the social reality. By external society I mean all tangible
and visible groupings, large or small, formal or informal, of which human society consists. By the
sociometric matrix I mean all sociometric structures invisible to the macroscopic eye but which
become visible through the sociometric process of analysis. By social reality I mean the dynamic
synthesis and interpretation of the two. It is obvious that neither the matrix nor the external are real or
can exist by themselves, one is a function of the other. As dialectic opposites they must merge in some
fashion in order to produce the actual process of social living.
Who Shall Survive? p. 79
Fundamentos de la Sociometria p. 72
Quem Sobreviverá? v. 1 p. 181

A position which has become axiomatic for sociometrists until proven otherwise is that the official
(external) society and the sociometric (internal) matrix are not identical.
Who Shall Survive? p. 79
Fundamentos de la Sociometria p. 73
Quem Sobreviverá? v. 1 p. 182

SOCIATRY
Sociatry is applied sociometry. The group psychotherapies are subfields of sociatry, as the latter
comprises also the application of sociometric knowledge to groups “at a distance”, to inter-group
relations and to mankind as a total unit.
Psychodrama v. 1 p. 316 (footnote)
Psicomúsica y Sociodrama p. 140, Horme
Psicodrama p. 374 (nota de rodapé)

... “Sociatry” is logically the healing of normal society of the socius. The term derives from a Latin
and a Greek root, the one is socius, the “other fellow”, the other iatreia, healing
Who Shall Survive? p. 119
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 216

The initiation of the science of sociatry coincides with the critical historical situation of mankind in
the middle of our century. The aim of the new science is prophylaxis, diagnosis and treatment of
mankind, of group and intergroup relations and particularly to explore how groups can be formed
which propel themselves into realization via techniques of freedom without the aid of sociatry of
psychiatry. The secret aim of sociatry, and of all science, is to help mankind in the realization of its
aims and ultimately to become unnecessary and perish.
Who Shall Survive? p. 379
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 2 p. 235

SOCIATRY/HYPOTHESES
... It is based upon two hypotheses: 1) “The whole of human society develops in accord with
definitive laws”; 2) “A truly therapeutic procedure cannot have less as objective than the whole of
mankind”.
Who shall survive? p. 379
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 216

... Sociatry must be defined as to its position within a system of both, social and medical sciences.
Psychiatry is the branch in medicine that relates to mental disease and its treatment; it treats the
individual psyche and soma. Sociatry treats the pathological syndromes of normal society, of inter-
related individuals and of inter-related groups.
Who Shall Survive? p. 119
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 216

SOCIATRY/SOCIOMETRY
Sociatry is remedial sociometry. It is just as much a pure science as is sociometry. They differ in
method and emphasis rather than in purity. A research science is not purer than a therapeutic science.
The adjective “remedial” should not connote a lower degree of accuracy. Sociometry may just as
often be applied sociatry as sociatry applied sociometry.
Who Shall Survive? p. 119
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 216

SOCIODRAMA
Sociodrama has been defined as a deep action method dealing with inter-group relations and
collective ideologies.
 Who Shall Survive? p. 87
Fundamentos de la Sociometria p. 80
Quem Sobreviverá? v. 1 p. 188

SOCIODRAMA/GROUP PSYCHOTHERAPY
... There is a limit therefore, as to how far the psychodramatic method can go in fact-finding and
solving inter-personal conflicts. The collective causes cannot be dealt with except in their
subjectified form. ... They too, were super-individual, like the storm which broke the fence, but a
social storm, which may have to be understood and controlled by different means. A special form of
psychodrama was necessary which would focus its dramatic eye upon the collective factors. This is
the way sociodrama was born.
The true subject of a sociodrama is the group. It is not limited by a special number of individuals,
it can consist of as many persons as there are human beings living anywhere, or at least of as many as
belong to the same culture.
Psychodrama v. 1 pp. 353-354
Psicomúsica y Sociodrama pp. 139-140, Horme
Psicodrama pp. 412-413

SOCIODRAMA/GROUP PSYCHOTHERAPY/INDIVIDUAL
PSYCHOTHERAPY/COLLECTIVE GROUP PSYCHOTHERAPY
The difference between psychodrama and sociodrama should be extended to every type of group
psychotherapy. A difference should be made between the individual type of group psychotherapy and
the collective type of group psychotherapy. The individual type of group psychotherapy is
individualcentered. It focuses its attention upon the single individuals in the situation, of which the
group consists, and not upon the group in general. The collective type of group psychotherapy is
group centered. It focuses its attention upon the collective denominators and is not interested in the
individual differentials or the private problems which they produce.
Psychodrama v. 1 p. 364 (footnote)
Psicomúsica y Sociodrama p. 159, Horme (notas)
Psicodrama p. 424 (nota de rodapé)

SOCIODRAMA/PERCEPTUAL
... The subjects were asked in the course of sociometric testing to guess and rate the feelings others
have for them, depending entirely upon their intuition, in reference to specific, ongoing activities. By
comparing the perceptional data with the real data it was found that individuals have sociometric
perceptions of each other of various degrees of accuracy. ... Several types of perceptual behavior
patterns were discovered. Category 1, there are patients who underestimate their own status and
overestimate the status of the therapist, and of others members of the group. Category 2, there are
patients who overestimate their own status and underestimate the status of the therapist, and of other
members of the group. Category 3, there are patients who consider themselves as most attractive and
acceptable to the therapist or to other members of the group. Category 4, there are patients who
consider themselves as rejected by the therapist or by other members of the group. Category 5, there
are patients who consider themselves as accepting the therapist of other members of the group.
Category 6, there are patients who consider themselves as rejecting the therapist or other members of
the group.
Psychodrama v. 2 p. 11
Las Bases de la Psicoterapia pp. 27-28
Fundamentos do Psicodrama p. 25

SOCIODRAMA/ROOTS
Sociodrama has two roots, - socius, which means the associate, the other fellow, and drama, which
means action. Sociodrama would mean action in behalf of the other fellow.
Psychodrama v. 1 p. 352 (footnote)
Psicomúsica y Sociodrama p. 138, Horme (notas)
Psicodrama p. 411 (nota de rodapé)

SOCIODRAMA/SUBJECT
The true subject of a sociodrama is the group. It is not limited by a special number of individuals,
it can consist of as many persons as there are human beings living anywhere, or at least of as many as
belong to the same culture.
Psychodrama v. 1 p. 354
Psicomúsica y Sociodrama p. 140, Horme
Psicodrama p. 413

SOCIODRAMA/TEACHING TECHNIQUE
My reference to Socrates serves not only to emphasize the influence which Socrates had upon my
formative years, but also the great importance of the sociodrama as a teaching technique. It should not
cloud the fact that the origins of sociodrama go back into the prehistoric period of mankind, before
any recorded literature in the modern sense could exist. On the other hand, there are elements in
sociodrama, f. i., the theory of spontaneity and creativity, which could not have been brought out to
full maturity before the civilization of the machine and the robot made it an indispensable antidote.
Who Shall Survive? p. xxiv Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 31 Prelúdios

SOCIODRAMATIST
Sociodramatic workers have the task to organize preventive, didactic and reconstruction meetings
in the community in which they live and work;... ... The action agent moves into the group
accompanied by a staff of auxiliary egos, if necessary with the same determination; boldness or
ferocity as a fuehrer or union leader. The meeting may move into an action as shocking and
enthusiastic as those of a political nature, with the difference that the politicians try to submit the
masses to their political schemes, whereas the sociodramatist is trying to bring the masses to a
maximum of group realization, group expression, and group analysis.
Who Shall Survive? p. 117
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 pp. 214-215
SOCIODYNAMIC EFFECT
5. The hypothesis of the sociodynamic effect claims that a) a number of persons of a group will be
persistently left out of productive contact and communication; b) the persistent neglect of some
individuals is far beneath their aspirations and persistently favors others, out of proportion to their
requirements; c) conflicts and tensions in the group rise in proportion with the increase of the
sociodynamic effect, that is, with the increased polarity between the favored ones and the neglected
ones. Conflicts and tensions in the group fall with the decrease of the sociodynamic effect, that is,
with the reduction of the polarity between the favored ones and the neglected ones.
Who Shall Survive? pp. 704-705
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 195

SOCIOGENICS/EUGENICS
Sir Francis Galton proposed eugenics “to endow or improve the inborn qualities of future
generations”. I propose sociogenics, “to study and prepare conditions in the universe that everyone
can live and that no one is prevented from being born”.
Who Shall Survive? p. 609
Fundamentos de la Sociometria p. 420
Quem Sobreviverá? v. 3 pp. 178–179

The principle of a sociometric and sociogenic democracy – is a commonwealth in which the

equality of opportunity is extended to the unborn; it includes and gives equality of rights to three
classes of people, the unborn, the living and the dead. ... Sociometry has discovered many new
types of proletariat but the greatest and oldest proletariat of all is the proletariat of the unborn.
Who Shall Survive? p. 610
Fundamentos de la Sociometria p. 421
Quem Sobreviverá? v. 3 p. 179

SOCIOGRAM
... By means of longitudinal studies the deviations from sociometric norms can be read in the
sociograms; anti-social behavior and mental disorders can be foreseen.
Who Shall Survive? p. 702
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 192

28. When the members find full realization of their choices within their group the results do not
require further validation. The sociogram is then an expression of the “now and here”, an
“existential” sociogram.
Who Shall Survive? p. 703
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 193
 Sociogram depicts by means of a set of symbols the twoway or interpersonal relations which exist
between members of a group. If A chooses B this is only half of a two-way relation. In order that the
relationship should become sociometrically meaningful the other half must be added. It may be that B
chooses A or that he rejects A of that he is indifferent towards A.
As the sociogram can be read by everyone who knows the symbols it can be considered as a
sociological alphabet.
Who Shall Survive? p. 719
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 pp. 213–214

SOCIOGRAM/OBSERVER
Such a “sociometrically oriented observational method” is of considerable value whenever the
real test cannot be carried out; with the aid of an “observer” sociogram it may give a rough picture of
the situation.
Who Shall Survive? p. 244
Fundamentos de la Sociometria p. 178 (nota de rodapé)
Quem Sobreviverá? v. 2 p. 118

SOCIOID
... The sociometric matrix consists of various constellations, tele, the atom, the superatom of
molecule (several atoms linked together), the “socioid” which may be defined as a cluster of atoms
linked together with other clusters of atoms via interpersonal chains of networks; the socioid is the
sociometric counterpart of the external structure of a social group; it is rarely identical with what a
social group externally shows because parts of its social atoms and chains may extend into another
socioid. On the other hand, some of the external structure of a particular social group may not make
sense configuratively as a part of a particular socioid but may belong to a socioid hidden within a
different social group. Other constellations which can be traced within a sociometric matrix are
psycho-social networks. There are in addition large sociodynamic categories which are frequently
mobilized in political and revolutionary activities; they consist of the interpenetration of numerous
socioids and represent the sociometric counterpart of “social class” as bourgeoisie or proletariat;
they can be defined as sociometric structure of social classes or as “classoids”.
Who Shall Survive? pp. 80-81
Fundamentos de la Sociometria pp. 73-74
Quem Sobreviverá? v. 1 pp. 182-183

SOCIOMATRIX
Such sociometric classification is the embryo of the later “sociomatrix” as it is used by
sociometrists in recent years. It is the sociomatrix of a single individual. As soon as several
individuals are placed into the matrix with all their present relationships the sociomatrix of a group
results.
Who Shall Survive? p. 236
Fundamentos de la Sociometria p. 173
 Quem Sobreviverá? v. 2 p. 112

SOCIOMETRIC AND SOCIOGENIC DEMOCRACY

The principle of a sociometric and sociogenic democracy – is a commonwealth in which the
equality of opportunity is extended to the unborn; it includes and gives equality of rights to three
classes of people, the unborn, the living and the dead.
Who Shall Survive? p. 610
Fundamentos de la Sociometria p. 421
Quem Sobreviverá? v. 3 p. 179

SOCIOMETRIC CLASSIFICATION
... The crucial point of our classification is to define an individual in relation to others, and in the
case of groups, always a group in relation to other groups. This is sociometric classification.
Who Shall Survive? p. 234
Fundamentos de la Sociometria p. 169
Quem Sobreviverá? v. 2 p. 109

SOCIOMETRIC CLASSIFICATION/COMMON TERMS

Positive or Negative: Positive, the subject chooses others; Negative, the subject does not choose
others.
Isolated: The subject is not chosen and does not choose.
Extroverted Position: The subject sends the majority of her choices to individuals outside her own
group.
Introverted Position: The subject sends the majority of her choices to individuals insider her own
group.
Attracted: The subject uses more than one half of the choices permitted.
Attractive: The subject receives more than one half of the choices permitted. (In or Out is added to
indicate if the choices are inside the subject’s group or outside respectively. When this is not added
the choices are understood to relate to both inside and outside the group.)
Rejecting: The subject uses more than one half of the rejections permitted.
Rejected: The subject receives more than one half of the rejections permitted.
Indifference: The subject is indifferent to the individuals who are attracted to her or who reject her.
Who Shall Survive? pp. 235-236
Fundamentos de la Sociometria p. 170
Quem Sobreviverá? v. 2 p. 110

SOCIOMETRIC CONSCIOUSNESS
… This psychological status of individuals may be called their degree of sociometric
consciousness.
Who Shall Survive? p. 94
Fundamentos de la Sociometria p. 84
 Quem Sobreviverá? v. 1 p. 195

... As long as a population has a low sociometric consciousness distinctions between

psychological and social properties of populations have no value. Indeed, from the point of view of
action methods over-emphasis upon logical purity of definitions may be outright harmful and over-
developed logical systems may produce a false sense of security and of a scientific well-being which
discourages and delays action practice.
Who Shall Survive? p. 112
Fundamentos de la Sociometria pp. 101-102
Quem Sobreviverá? v. 1 p. 210

SOCIOMETRIC GEOGRAPHY
Viewing the social structure of a certain community as a whole, related to a certain locality, with a
certain physical geography, a township filled with homes, schools, workshops, the interrelations
between their inhabitants in these situations, we arrive at the concept of the sociometric geography of
a community.
Who Shall Survive? p. 52
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 158

As the sociogram enables us to present a structural analysis of a group, sociometric geography

enables us to make a structural analysis of the whole community.
Who Shall Survive? p. 421
Fundamentos de la Sociometria p. 285
Quem Sobreviverá? v. 2 p. 268

See the sociometric geography of a community in the rear of the book, which shows the actual
positions the individuals have in the houses as well as the positions they want, or more specifically,
the individuals in other houses to whom they are attracted. The sociometric test makes explicit the
conflict between an existing order and the potential structure of an order to which the group members
aspire.
Who Shall Survive? p. lxxi (footnote)
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 72 (nota de rodapé)

SOCIOMETRIC INVESTIGATOR
36. Place the sociometric investigator into the midst of several populations, not to give a test but a)
to arouse his warm up towards a given population and the warm up of that population towards him;
and b) to test his sensitivity for the criteria most significant for it.
The investigator who establishes a rapport, enters into a maximum of involvement with a
population and will choose the right criterion in the course of his warm up will provoke a wider and
deeper participation of the population than the investigator who gives the test by means of a mailed
questionnaire, for instance, or similar methods which try to reduce his involvement to a minimum.
 Who Shall Survive? pp. 711-712
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 203

SOCIOMETRIC LEADER
Sociometric leader: 1) popular leader, 2) powerful leader and 3) isolated leader. The popular
leader receives more than the number of expected choices on all criteria in which he and the
choosers are mutually involve; the choosers have themselves a low sociometric status. The powerful
leader receives more than the number of expected choices on all criteria in which he and the choosers
are mutually involved; the choosers have themselves a high sociometric status. Through the chain
relations which they provide he can exercise a far-reaching influence. The isolated leader receives
less than the number of expected choices or, in an extreme case, not more than a single mutual first
choice. This choice comes from a powerful leader who is himself the recipient of a large number of
choices coming from a number of individuals who enjoy high sociometric status. The isolated leader
individual may operate like an invisible ruler, the power behind the throne, exercising indirectly a
wide influence throughout sociometric networks.
These are by definition sociometric leader types and should not be confused with what is called “a
leader” in folk usage, magic or charismatic. Many other factors enter into their development,
especially the phenomenon of the role, but however complex a leadership process may appear in situ
its sociometric base is an indispensable clue for its deeper understanding; it should not be bypassed.
Who Shall Survive? p. 721
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 215

SOCIOMETRIC LEVELS
35. A community has many “sociometric levels” which can be explored by various sociometric
instruments. The first level may be reached through a sociometric test – the attraction-
rejectionindifference pattern of the community is exposed. The sociogram may show that the
community is broken up in three opposing groups; the conflict between these groups represents a new
sociometric problem which can be explored through a series of sociodramatic tests. A diagram of the
community may show that the three opposing groups are due to role antagonisms and role clusters
arising from the conflict between an older and a new culture.
Who Shall Survive? p. 711
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 203

SOCIOMETRIC MATRIX
… By the sociometric matrix I mean all sociometric structures invisible to the macroscopic eye but
which become visible through the sociometric process of analysis.
Who Shall Survive? p. 79
Fundamentos de la Sociometria p. 73
Quem Sobreviverá? v. 1 p. 181
 A position which has become axiomatic for sociometrists until proven otherwise is that the official
(external) society and the sociometric (internal) matrix are not identical.
Who Shall Survive? p. 79
Fundamentos de la Sociometria p. 73
Quem Sobreviverá? v. 1 p. 182

The structure of the sociometric matrix is more difficult to recognize. Special techniques called
sociometric are necessary to unearth it; as the matrix is in continuous dynamic change the techniques
have to be applied at regular intervals so as to determine the newly emerging social constellations.
The sociometric matrix consists of various constellations, tele, the atom, the super-atom or molecule
(several atoms linked together), the “socioid” which may be defined as a cluster of atoms linked
together with other clusters of atoms via interpersonal chains or networks; the socioid is the
sociometric counterpart of the external structure of a social group; it is rarely identical with what a
social group externally shows because parts or its social atoms and chains may extend into another
socioid. On the other hand, some of the external structure of a particular social group may not make
sense configuratively as a part of a particular socioid but may belong to a socioid hidden within a
different social group. Other constellations which can be traced within a sociometric matrix are
psycho-social networks. There are in addition large sociodynamics categories which are frequently
mobilized in political and revolutionary activities; they consist of the interpenetration of numerous
socioids and represent the sociometric counterpart of “social class” as bourgeoisie or proletariat;
they can be defined as sociometric structure of social classes or as “classoids”.
Who Shall Survive? pp. 80-81
Fundamentos de la Sociometria pp. 73-74
Quem Sobreviverá? v. 1 pp. 182-183

SOCIOMETRIC MOVEMENT/HELPERS
The sociometric movement had, during its pioneering period in the USA, six helpers: William H.
Bridge, E. Stagg Whitin, Helen H. Jennings, William Alanson White, Fanny French Morse and
Gardner Murphy. Bridge, a professor of speech at Hunter College, was the first to teach psychodrama
in his classes and other places. Within established the support of the Departments of Correction and
Social Welfare; without him the Hudson and Brooklyn experiments would not have come into
existence. Jennings assisted me in the completion of the research; without her it might have been
delayed indefinitely. Her personality as well as her talents have exercised a decisive influence upon
the development of sociometry. Without White psychiatrists would not have given my ideas a
respectful hearing. Without Mrs. Morse the ongoing experiment in Hudson might have been nipped in
the bud by her Board of Visitors. Without Murphy the acceptance of sociometry by social scientists in
the colleges and universities might have been delayed by a decade.
Who Shall Survive? p. xliii Preludes
Fundamentos de la Sociometria não há
Quem Sobreviverá? v. 1 p. 47 Prelúdios

The soil for sociometry was prepared by the thinking of J. Baldwin, C. H. Cooley, G. H. Mead, W.
I. Thomas and particularly John Dewey. Sociologists and educators were the first to accept it.
Psychiatrists were the slowest.
Who Shall Survive? p. lx Preludes
Espanhol p. não há
Quem Sobreviverá? v. 1 p. 62 Prelúdios

SOCIOMETRIC QUESTIONNAIRE
Sociometric questionnaire requires an individual to choose his associates for any group of which
he is of might become a member.
Who Shall Survive? p. 719 Glossary
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 213 Glassário

SOCIOMETRIC SCORE
34. A sociometric score is the number of times an individual has been chosen, rejected or ignored
by other individuals for a specific course of action.
35. The sociometric core of a group is the tele structure among the individuals.
Who Shall Survive? p. 704
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 194

SOCIOMETRIC STATUS
21. Positive correlation should be found between sociometric status of the co-living individuals
and the volume of role reversal applied to them; the sociometric status of an individual increases in
proportion as role reversal is applied to all the participant individuals of the group. (The sociometric
status of an individual is defined by the quantitative index of choices, rejections and indifferences
received in the particular group studied).
Psychodrama v. 2 p. 157
Las Bases dela Psicoterapia pp. 257-258
Fundamentos do Psicodrama pp. 173-174

23. As sociometric status increases with the volume of role reversal applied to a given group of
individuals, the accidentproneness of the small children belonging to it decreases.
Psychodrama v. 2 p. 157
Las Bases dela Psicoterapia pp. 257-258
Fundamentos do Psicodrama pp. 173-174

SOCIOMETRIC STATUS/ACCIDENT PRONENESS

22. Accident proneness is a function of the sociometric status of an individual. As the
sociometric status of an individual increases in relative cohesiveness, his accident proneness
decreases, and vice versa.
Psychodrama v. 2 p. 157
Las Bases de la Psicoterapia pp. 257-258
 Fundamentos do Psicodrama pp. 173-174

SOCIOMETRIC STRUCTURES
... It is important to know, however, that the sociometric structures found in closed communities
do not differ in their basic features from the ones found in open communities.
Who Shall Survive? p. 555
Fundamentos de la Sociometria p. 375
Quem Sobreviverá? v. 3 p. 122

SOCIOMETRIC TEST/SOCIOMETRIC SELF-RATING

An illustration of this is a shortcut which I tried out recently … a form which might be called
sociometric self-rating. It is based on the fact that every individual “intuitively has some intimation of
the position he holds in the group. He comes to know approximately whether the flow of affection and
sympathy or antipathy for him is rising or falling…
… Self–rating is obviously like a sociometric test carried out in the mind of the tester himself in
which the other individuals are like dolls. … Self-rating has the advantage of being anonymous.…
Moreno, J. L. “Sociometry in action” in Sociometry a Journal of Interpersonal Relations,
Beacon House, August, 1942, pp. 299-300.
Psicoterapia de Grupo e Psicodrama p. 50 (similar)
Psicoterapia de Grupo y Psicodrama p. 55 (similar)

... In the beginning they hardly differentiated between the plan, myself and the team of my co-
workers. In this dilemma I invented a sociometric technique devised to x-ray my own situation, a
technique which I latter called “sociometric self-rating” and projection. It was based on the
assumption that every individual intuitively has some intimation of the position he holds in the group.
By empathy he comes to know approximately whether the flow of affection of antipathy for him is
rising or falling. I begin to map out in my own mind, often two or three times a day, the sociogram of
the key groups upon whom the success or failure of the project depended. I began to sketch all the
situations in which my co-workers and I were involved at the time and in which role. Then I tried to
clarify how we felt towards each of these people. It was comparatively easy to state my own
preferences, choices or rejections, towards the key individuals in the community. It was more
difficult to “guess” what everyone of these people felt towards me and my plan and what reasons they
might have. ... By a sort of highly trained empathy I succeeded in picturing my own sociograms; they
were a great aid in preventing and countering attacks before they became detrimental. This technique
was particularly important, as it trained my social intuition.
Who Shall Survive? p. 221
Fundamentos de la Sociometria p. 159
Quem Sobreviverá? v. 2 pp. 98-99

SOCIOMETRIC TEST/SOCIOMETRIC SELF-RATING

/SOCIOMETRIC PERCEPTION TEST
I described a version of the sociometric test* which was called “sociometric selfrating”, but which
may better be called a “sociometric perception test”. The individual goes through several steps.
First step: the individual “sketches out all the situations in which he is involved at the time and fills
in all the individuals who take a part in them and in which role.”
Second step: “he tries to clarify for himself how he feels towards each of these people. He
pretends that he is taking part in a sociometric test and chooses or rejects them according to
preference and rank, giving his reasons.”
Third step: “he makes a guess what every one of these people feels towards him and what reasons
they might have.”
Fourth step: “he guesses how these individuals may be related to each other.”
Fifth step: “after he has finished his own selfrating he may ask another person familiar with his
situation to rate him independently.”
Sixth step: “the validity and reliability of data from sociometric selfrating can be determined by
giving to a group of individuals an open sociometric test immediately after they have rated
themselves. Thus, the individual’s intuition of his sociometric status can be compared with the
objective facts of others’ expression towards him, e.g., his actual sociometric status.”
Who Shall Survive? p. 325
Fundamentos de la Sociometria p. 217
Quem Sobreviverá? v. 2 p. 190

When I introduced the selfrating test I calculated that if the perceptual intuition of such individuals
could be awakened and trained, their choice would be more adequate and their sociometric status
would improve.
Who Shall Survive? p. 326
Fundamentos de la Sociometria p. 218
Quem Sobreviverá? v. 2 p. 191

A pitfall of the sociometric perception test, as in real sociometric tests, is the neglect of giving the
subject appropriate material instructions, by not warming him up adequately to the situations he is to
evaluate and perceive.
Who Shall Survive? p. 327
Fundamentos de la Sociometria p. 219
Quem Sobreviverá? v. 2 p. 192

SOCIOMETRIC TRANSPLANTATION/SOCIOMETRIC ASSIGNMENT

In numerous cases individual treatment, analytic and activistic group psychotherapy as well as
roleplaying are only partially successful. Then the individual must be transplanted from his old soil to
another social soil better suited to his needs. ... Just as a gardener, knowing the composition of the
soil which thwarted the growth of a plant, transfers it to a soil from which such factors are
eliminated, so we, when planting individuals, carefully see to it that the same conditions which
brought failure in the first place are not repeated. This principle of sociometric transplantation can
also be applied to entire communities.
Who Shall Survive? p. 503
Fundamentos de la Sociometria p. 338
Quem Sobreviverá? v. 3 p. 64
SOCIOMETRIC TRANSPLANTATION/SOCIOMETRIC
ASSIGNMENT/ASSIGNMENT VALUE
The value of assignment can be estimated in its accumulative effect upon the community as a whole
and upon the groups within it. The continuous assignment of new individuals to the different cottage
groups produces changes in the social structure which can be traced later through the sociometric test.
Who Shall Survive? p. 514
Fundamentos de la Sociometria p. 347
Quem Sobreviverá? v. 3 p. 76

SOCIOMETRIC TWINS
21. The hypothesis of sociometric “twins”. Identical sociometric status although the “individual”
motivations leading up to them may differ widely, have in the majority of cases the same or similar
sociodynamic consequences within their social setting. But at times there are fundamental differences.
The study of sociometric twins may give us a specific answer to the old question why two brothers
who come from the same social soil produce different life patterns, one may turn into a criminal, the
other may become a highly conforming bourgeois.
Who Shall Survive? p. 707
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 198

SOCIOMETRY
SOCIOMETRY/ADVANTAGES
This method can be used to advantage as an improvement upon the participant-observer technique
of investigation. As a result of careful gauging of the personalities of the investigators who are to be
employed as sociometrists or observers in the community at large, a frame of reference is established
at the research center to which the investigators return with their data and findings. The use of this
frame of reference provides a more objective basis than has heretofore existed for evaluating the
reflection of the investigators’ own behavior-characteristics upon their findings in the community.
The social investigation of any community, when based upon sociometric principles, is equipped
with two complementary frames of reference. The one is the objectified investigator so prepared
and evaluated that his own personality is no longer an unknown factor in the findings. The other
frame of reference consists of the members of the community who are brought to a high degree of
spontaneous participation in the investigation by means of sociometric methods, and therefore
contribute genuine and reliable data.
Who Shall Survive? p. 109-110
Fundamentos de la Sociometria p. 99
Quem Sobreviverá? v. 1 p. 208-209

SOCIOMETRY/ATTRACTION AND REPULSION

... But whatever the social forces compelling these individuals and groups to migrate, when their
behavior matures to the making of choices and decisions they take the form of attractions and
repulsions; those patterns are revealed by sociometric methods.
 Who Shall Survive? p. 556
Fundamentos de la Sociometria p. 376
Quem Sobreviverá? v. 3 p. 123

SOCIOMETRY/CONCEPT
Sociometry is a study of the actual psychological structure of human society. The structure is rarely
visible on the surface of social processes; it consists of complex inter-personal patterns studied by
quantitative and qualitative procedures. One of the procedures used is the sociometric test which
determines the affinities of individuals for one another in the various groups to which they belong. A
psychological structure of inter-personal relations is disclosed by the test which often differs
considerably from the relations which they officially have in the groups. On the basis of these findings
a technique has been worked out which moves the individual from his maladjusted position to a
position in the same group or to another group which promises to benefit him. The leads for this
change are given by the individuals towards whom the individual is spontaneously attracted, or who
are attracted to him. If the change of position is made on the basis of a thorough-going quantitative and
structural analysis of the groups in a given community the procedure is called sociometric
assignment.
Psychodrama v. 1 p. 242 (footnote)
Psicodrama Espanhol p. 326
Psicodrama pp. 298-299 (nota de rodapé)

... Sociometry is the sociology of the people, by the people, and for the people; here this axiom is
applied to social research itself. (Rule of universal participation in action).
Who Shall Survive? p. 62
Fundamentos de la Sociometria p. 67
Quem Sobreviverá? v. 1 p. 166

SOCIOMETRY/CURRENT SOCIOMETRIC TERMS COINED BY J. L.

MORENO
Sociometry, psychodrama, sociodrama, group therapy, group psychotherapy, warm up or warming
up, roleplayer, roleplaying, audience participation and catharsis, situation test, group catharsis, action
techniques, acting out techniques, action research, action methods, actor in situ, sociometric test,
spontaneity test, isolate, star, racial cleavage, racial saturation point, emotional expansiveness, social
expansiveness, sociostasis, surplus reality, sociatrist, sociotic, sociosis, bioatry, tele, social atom,
cultural conserve, cultural atom, role test, axiodrama, physiodrama, hypnodrama, spontaneity
quotient, social quotient, interpersonal therapy, interpersonal situation, interpersonal catharsis,
interpersonal dynamics, psychological geography, sociometric networks, psychological home,
auxiliary ego, role reversal, mirror technique, double technique, social microscopy.
Who Shall Survive? p. 724
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 219

SOCIOMETRY/CURRENT SOCIOMETRIC TERMS INTRODUCED BY

OTHER AUTHORS
 Interpersonal relations (W. C. Perry, 1927); participant observer (E. C. Lindeman, 1925); sociatry
(Alfred McClung Lee, 1941); roletaking (George H. Mead, 1934); microsociology (Georges
Gurvitch, 1936).
Who Shall Survive? p. 724
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 219

SOCIOMETRY/ETHICS
The pivotal point of dialectic sociometry is that sociometry returns the social sciences to the
“aboriginal” science from which it came – “ethics” – without, however, giving an inch of the
objective goals of scientific method. Sociometry is the social ethics par excellence.
Who Shall Survive? p. 114
Fundamentos de la Sociometria p. 102
Quem Sobreviverá? v. 1 p. 212

SOCIOMETRY/HISTORY
The closet approximation to an official start of the sociometric movement occurred on April 3-5,
1933, when the Medical Society of the State of New York exhibited a few dozen sociometric charts
during its convention at the Waldorf Astoria Hotel.
Who Shall Survive? p. xiii Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 21 Prelúdios

The year 1933 may have been the official, but the year 1923 was the conceptual origin of
sociometry; it was the publication date of my book Das Stegreiftheater which contained the seeds of
many of the ideas which later brought sociometry to fame. ... The sociometric movement can be
divided into two major periods; the first could be called the axionormative period,... ... The second
could be called the sociometric period, which has had three distinct phases; the first phase began in
1923, with the appearance of Das Stegreiftheater and ended in 1934, with the appearance of WHO
SHALL SURVIVE?; the second phase began with the launching of Sociometry, A Journal of
Interpersonal Relations and ended with the opening of the Sociometric Institute and the New York
Theatre of Psychodrama in 1942; the third phase, 1942 to 1952 saw the spreading of group
psychotherapy, psychodrama and sociometry throughout the United States, Europe and other parts of
the world.
Who Shall Survive? p. xiv Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 22 Prelúdios

I brought with me the three vehicles I had invented, which have done more than anything else to
inaugurate and spread sociometry, a characteristically American sociology, in the United States: the
psychodrama stage, the interactional sociogram and a magnetic sound recording device. Each led
to a revolution of concept – the psychodrama stage by surpassing the psychoanalytic couch led to the
acting out techniques, the theory of action and the audience participation of group psychotherapy; the
sociogram to systematic small group research; the sound recording device to a method of recording
case material and playback, to a new objectivity, accuracy and completeness of data.
Who Shall Survive? p. xli-xlii
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 46

SOCIOMETRY/HYPOTHESES
One of his first blueprints might have been a universal axionormative order of the cosmos and I
formulated accordingly two hypotheses.
1) The spatial-proximity hypothesis postulates that the nearer two individuals are to each other in
space, the more do they owe to each other their immediate attention and acceptance, their first love.
Do not pay any attention to the individuals farther away from you unless you have already absolved
your responsibility to the nearer ones and they to you. By the nearest is meant the one whom you live
next to, whom you meet first on the street, whom you find working next to you, who sits next to you or
who is introduced to you first. The sequence of “proximity” in space establishes a precise order of
social bonds and acceptance, the sequence of giving love and attention is thus strictly preordained
and prearranged, according to a “spatial imperative”.
2) The temporal-proximity hypothesis postulates that the sequence of proximity in time
establishes a precise order of social attention and veneration according to a “temporal
imperative”. The here and now demands help first, the next in time to the here and now backward
and forward requires help next.
Here I had some of the ingredients of “the sociometric system” on hand, the idea of proximity and
the metric, the love of the neighbor and the idea of the meeting, in addition to spontaneity (s) and
creativity (c). I tried the sociometric system first on the cosmos. God was a super sociometrist. The
genesis of sociometry was the metric universe of God’s creation, the science of “theometry”. What I
know of sociometry I learned first from my speculations and experiments on a religious and
axiological plane. To fit the sociometric system into God’s world I made God assign to every particle
of the universe some of his s and c, thus creating for himself innumerable oppositions, the counter
spontaneities of innumerable beings. This made him dependent upon every being and because of the
enormous extent of distribution through the endless spaces, almost helpless,... ... This distribution of s
and c made him a partner, an equal; he was to serve, not to rule, he was to co-exist, co-create and
coproduce, nothing for himself, all for others. ... hate and stupidity are just as close to his heart as
love and wisdom.
Who Shall Survive? p. xx–xxi Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 pp. 27–28 Prelúdios

SOCIOMETRY/HELPERS OF THE SOCIOMETRIC

MOVEMENT
The sociometric movement had, during its pioneering period in the USA, six helpers: William H.
Bridge, E. Stagg Whitin, Helen H. Jennings, William Alanson White, Fanny French Morse and
Gardner Murphy. Bridge, a professor of speech at Hunter College, was the first to teach psychodrama
in his classes and other places. Whitin established the support of the Departments of Correction and
Social Welfare; without him the Hudson and Brooklyn experiments would not have come into
existence. Jennings assisted me in the completion of the research; without her it might have been
delayed indefinitely. Her personality as well as her talents have exercised a decisive influence upon
the development of sociometry. Without White psychiatrists would not have given my ideas a
respectful hearing. Without Mrs. Morse the ongoing experiment in Hudson might have been nipped in
the bud by her Board of Visitors. Without Murphy the acceptance of sociometry by social scientists in
the colleges and universities might have been delayed by a decade.
Who Shall Survive? p. xliii Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 47 Prelúdios

The soil for sociometry was prepared by the thinking of J. Baldwin, C. H. Cooley, G. H. Mead, W.
I. Thomas and particularly John Dewey. Sociologists and educators were the first to accept it.
Psychiatrists were the slowest.
Who Shall Survive? p. lx Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 62 Prelúdios

SOCIOMETRY/QUANTITATIVE EXACTNESS
The quantitative exactness of sociometry can be equal, if not superior, to the quantitative exactness
of the natural sciences.
Who Shall Survive? p. xl Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 44 Prelúdios

SOCIOMETRY/RELIGION
... But it is from religious systems that sociometry has drawn its chief inspiration. ... It was in my
philosophical Dialogues of the Here and Now and later in my Words of the Father that I added a
new dimension to the Godhead, a dimension which unconsciously was always there but which has
never been properly spelled out, theoretically the dimension of the “I” or God in the “first” person
(in contrast to the “Thou” God of the Christian, and to the “He” God of the Mosaic tradition), the
dimension of subjectivity, the dimension of the actor and creator, of spontaneity and creativity.
Who Shall Survive? pp. xl–xli Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 pp. 44–45 Prelúdios

SOCIOMETRY/SUBJECT
Sociometry deals with the mathematical study of psychological properties of populations, the
experimental technique of and the results obtained by application of quantitative methods.
Who Shall Survive? p. 51
Fundamentos de la Sociometria p. 61
Quem Sobreviverá? v. 1 p. 157

SOCIOMETRY/THREE DEPARTMENTS OF RESEARCH

... It has developed three departments of research: a) dynamic, or revolutionary sociometry,
engaged in problems of social change; b) diagnostic sociometry, engaged in social classification; and
c) mathematical sociometry.
Who Shall Survive? p. 52
Fundamentos de la Sociometria p. 62
Quem Sobreviverá? v. 1 p. 158

SOCIOMETRY/TRAINING THE SOCIOMETRIC INVESTIGATOR

36. Place the sociometric investigator into the midst of several populations, not give a test, but a)
to arouse his warm up towards a given population and the warm up of that population towards him;
and b) to test his sensitivity for the criteria most significant for it.
The investigator who establishes a rapport, enters into a maximum of involvement with a
population and will choose the right criterion in the course of his warm up will provoke a wider and
deeper participation of the population than the investigator who gives the test coldly by means of a
mailed questionnaire, for instance, or similar methods which try to reduce his involvement to a
minimum.
Who Shall Survive? pp. 711-712
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 203

SOCIOMETRY/URBANISM
... The administration of the sociometric test to populations in problem areas, thus revealing the
spontaneous trends and potential movements, may lay the ground for a procedure of guided migration.
Such a procedure could not only unburden urban centers of a surplus of industrial population but also
relieve areas from the cumulative effect of socio emotional tensions.
Who Shall Survive? p. 557
Fundamentos de la Sociometria p. 377
Quem Sobreviverá? v. 3 p. 124

SOCIONOMIC HIERARQUY
... Whether these differences in attractiveness are intrinsic or not, they have been the greatest
deterrents or stimulants of the will to power. It is natural that less attractive individuals and less
attractive groups will try to attain, through the arbiter of force of deceit what spontaneous attraction
and ability fail to provide for them.
Who Shall Survive? p. 434
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 2 p. 281

SOCIO-PSYCHODRAMA
The group approach in psychodrama deals with “private” problems however large the number of
individuals may be of which the audience consists. But as soon as the individuals are treated as
collective representatives of community roles and role relations and not as to their private roles and
role relations, the psychodrama turns into a “socio-psychodrama” or short, sociodrama. The latter has
opened new ways of analyzing and treating social problems.
Psychodrama v. 1 p. 325
Psicomúsica y Sociodrama p. 94, Horme
Psicodrama pp. 383-385

The psychodrama of Adolf Hitler turned into the psychosociodrama of our entire culture- a mirror
of the Twentieth Century.
Psychodrama: foundations of Psychotherapy v. 2 p. 200
Las Bases de la Psicoterapia p. 322
Fundamentos do Psicodrama p. 217

SOCIOSIS/SOCIOTIC
Psychiatric concepts as neurosis and psychosis are not applicable to socioatomic processes. A
group of individuals may become “sociotic” and the syndrome producing this condition can be
called a “sociosis”.
Who Shall Survive? p. 379
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 2 p. 235

SOCRATES
SOCRATES/ROLE REVERSAL
I had two teachers, Jesus and Socrates; Jesus, the improvising saint, and Socrates, in a curious sort
of way the closest to being a pioneer of the psychodramatic format. ... Socrates was involved with
actual people, acting as their midwife and clarifier, very much like a modern psychodramatist would.
... but here is where my quarrel with Socrates began; the frame of reference of his dialogues was
limited to the dialectic-logical; he did not, like Jesus, enter into the totality and essence of the
situation itself. ... Socrates, in order to prove a point, chose the form of the dialogue instead of
lecturing to the crowd. He picked as his counter-protagonist a representative character, a sophist.
Unconsciously using the technique of “role reversal” he elevated the sophist and turned him into the
teacher, whereas he himself assumed the role of the ignorant pupil who asked questions. He
calculated intuitively what I had to discover after long practice, that by means of role reversal he
could more easily find the weak spots in the armor of the sophist than if he would tell him directly
what the faults in his logic were. As he carried the sophist through various dilemmas his audience
became involved and the dialogue ended with a “dialectic catharsis”.
Who Shall Survive? p. xxii – xxiii Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 pp. 29–30 Prelúdios

SOLILOQUY
The technique of soliloquy “amplifies” the unconscious processes of A in situ, that is, it operates in
a situation in which A presently finds himself, apart from B or in relation to B. It differs from the
Freudian technique of free association which is associational but not situational. It has a formal
similarity with the asides in dramatic plays. However, the asides are meaningless to the actor who
produces them, they are fictitious and rehearsed, whereas the soliloquy in therapeutic situations is
meaningful to the individual who produces them, they are extemporaneous and direct.
Psychodrama v. 2 p. 52
Las Bases de la Psicoterapia pp. 93-94
Fundamentos do Psicodrama p. 66

SOLILOQUY/THERAPIST SOLILOQUY
The chief therapist himself may use another technique – the “soliloquy technique of the therapist”.
He may sit on the side of the stage and begin to soliloquize about as follows: “I know that Jack (he
patient) doesn’t like me. I don’t see what other reason he would have for r not cooperating.” The
patient might fall in with this and say, “It isn’t you I don’t like. It is this woman in the front row. She
reminds me of my aunt.
Psychodrama v. 1 p. viii
Psicoterapia de Grupo y Psicodrama p. 379
Psicoterapia de Grupo e Psicodrama p. 357

SPACE FOR PSYCHODRAMA

... A psychodrama can be produced anywhere, wherever patients find themselves, in a private
home, a hospital, a schoolroom, or a military barracks. It sets up its “laboratory” everywhere. Most
advantageous is a specially adapted therapeutic space containing a stage.
Psychodrama v. 1 p. viii
Psicodrama Espanhol p. não há
Psicodrama p. 31

In the establishment of a point of reference for theometric spaces, three factors must be
emphasized: the status nascendi, the locus, and the matrix. These represent different phases of the
same process. There is no “thing” without its locus, no locus without its status nascendi, and no status
nascendi without its matrix. The locus of a flower, for instance, is in the bed where it grows into a
flower, and not its place in a woman’s hair. Its status nascendi is that of a growing thing as it springs
from the seed. Its matrix is the fertile seed, itself. The locus of a painting is its specific, original
surroundings. If the painting is removed in space from its original surroundings, it becomes just
another “thing” – a secondary, exchangeable value.
Psychodrama v. 1 p. 25
Psicodrama Espanhol p. 54
Psicodrama p. 74

SPEECH DISORDERS
... We are able to relate speech disorders to three sources: a) physical deficiency; b) intra language
deficiency; the speech defect emerges “within” the structured, grammatic language and the roles in
which the individual operates; c) pre-language deficiency; the speech disorder appears already
“before” the infant speaks his mother tongue, his performance neurosis appears within the framework
of his autistic baby language, either because of a refusal to accept the language of adults or because
of deficiency in the relationship to the adult auxiliary egos around him.
Who Shall Survive? p. 34
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 143

SPONTANEITY
SPONTANEITY/CATHARSIS
... I discovered the common principle producing catharsis to be: spontaneity.
Psychodrama v. 1 p. d Introduction to 4th Edition
Psicodrama Espanhol p. não há
Psicodrama p. 20 Introdução à 4a Edição

SPONTANEITY/CONCEPT
... One can say that through the process of living we inhale the psyche and exhale it through the
process of spontaneity. If in the process of inhaling poisons develop, stresses and conflicts, they are
removed by spontaneity.
Theatre of Spontaneity p. 82
El teatro de la Espontaneidad pp. 146-147
Teatro da Espontaneidade p. 99

... Spontaneity is a readiness of the subject to respond as required. It is a condition – a conditioning

– of the subject; a preparation of the subject for free action.
Psychodrama v. 1 p. 111
Psicodrama Espanhol p. 161
Psicodrama p. 162

Spontaneity operates in the present, now and here; it propels the individual towards an adequate
response to a new situation or a new response to an old situation.
Who Shall Survive? p. 42
Fundamentos de la Sociometria p. 55
Quem Sobreviverá? v. 1 p. 149

Spontaneity is the variable degree of adequate response to a situation of a variable degree of

novelty. Novelty of behavior by itself is not the measure of spontaneity. Novelty has to be qualified
against its adequacy in situ. Adequacy of behavior by itself is also not the measure of spontaneity.
Adequacy has to be qualified against its novelty. The novelty, for instance, of extreme psychotic
behavior may be to such a degree incoherent that the actor is unable to solve any concrete problem, to
plan an act of suicide to cut a piece of bread or to solve a thought problem. (We speak here of
pathological spontaneity). The adequacy of behavior may be unnovel to a degree which results in
strict rigid or automatic conformity to a cultural conserve. Such adherence may gradually obliterate
the ability of the organism and the talent of the actor to change.
Spontaneity can be conceived as the arch catalyser, metaphorically speaking it has a procreative
function. Creativity can be conceived as the archsubstance, metaphorically speaking it has a maternal
function.
Who Shall Survive? p. 722
Fundamentos dela Sociometria p. não há
Quem Sobreviverá? v. 3 p. 217

... Spontaneity can be present in a person when he is thinking just as well as when he is feeling,
when he is at rest just as well as when he is in action.
Psychodrama v. 1 p. 112
Psicodrama Espanhol p. 162
Psicodrama p. 163

... We have called this response of an individual to a new situation – and the new response to an
old situation – spontaneity.
Psychodrama v. 1 p. 50
Psicodrama Espanhol p. 89
Psicodrama p. 101

SPONTANEITY/CONCEPT/BEGUININGS
... I discovered the spontaneous man for the first time at the age of four when I tried to play God,
fell and broke my right arm. I discovered him again when at the age of seventeen I stood before a
group of people. I had prepared a speech; it was a good and sensible speech but when I stood before
them I realized that I could not say any of the fine and good things I had prepared myself to say.
Psychodrama v. 2 p. 137
Las Bases de la Psicoterapia p. 227
Fundamentos do Psicodrama pp. 153-154

SPONTANEITY/COUNTER SPONTANEITY
... But the reader is absent from the primary situation, the author can make him a helpless target.
The same is in principle true about millions of radio listeners listening to a speaker. As in the case of
readers, their, “counter-spontaneity” is reduced to a minimum, their opportunity to counter with their
own spontaneities is made difficult or impossible.
Who Shall Survive? pp. 67-68
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 171

13. In the course of interaction between two actors the more warmed up one is the more warmed up
the other tends to become. Spontaneity begets counter-spontaneity.
Who Shall Survive? p. 706
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 197

... Particularly significant was the situation in which I placed him after my comments. He was taken
by surprise and so he was like a subject in a psychodramatic test. He had to counter spontaneously, he
had to improvise his comments without preparation.
Who Shall Survive? p. xlviii Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 53 Prelúdios

SPONTANEITY/CULTURAL CONSERVES
Spontaneity and cultural conserves do not exist in pure form, one is a function, a parasite of the
other.
Psychodrama v. 1 p. 105
Psicodrama Espanhol p. 154
Psicodrama p. 156

SPONTANEITY/CURE
... The dynamic role which spontaneity plays in psychodrama as well as in every form of
psychotherapy should not imply however, that the development and presence of spontaneity in itself is
the “cure”. There are forms of pathological spontaneity, which distort perceptions, dissociate the
enactment of roles, and interfere with their integration on the various levels of living.
Psychodrama v. 1 p. xii Introduction to 3rd edition
Psicodrama Espanhol p. não há
Psicodrama p. 37

SPONTANEITY/DISCIPLINE
... But without some measure and discipline the inter-play of even the most creative players may
fail. Spontaneity work is so challenging to man’s mental organization that it is wise not to invite
failure to start with by methods of laissez faire. It is as if reason, before the jump into the
spontaneous drama takes place, goes cautiously ahead of it with its lamp of intuitive anticipation,
draws a sketch of the possible terrain to be encountered with its barriers and traps, so that it can
indicate the direction which the jump should take.
Theatre of Spontaneity p. 63
El Teatro de la Espontaneidad pp. 114-115
Teatro da Espontaneidade p. 79

SPONTANEITY/FEAR OF SPONTANEITY
... If spontaneity is such an important factor for man’s world why is it so little developed? The
answer is: man fears spontaneity, just like his ancestor in the jungle feared fire; he feared fire until he
learned how to make it. Man will fear spontaneity until he will learn how to train it.
Who Shall Survive? p. 47
Fundamentos de la Sociometria p. 60
Quem Sobreviverá? v. 1 p. 154

SPONTANEITY/FORMS OF SPONTANEITY
We see spontaneity on two levels: the crude, ready spontaneity during the course of any life
process; and then, the spontaneity on a higher level, occurring in situations which do not fit the
patterns of a person, which are surprising and unexpected. It is useful to distinguish between
instinctive and creative spontaneity.
Psychodrama v. 1 p. 117
Psicodrama Espanhol p. 169
Psicodrama p. 169

On the basis of experimental study, we have been able to regard four characteristic expressions of
spontaneity as relatively independent forms of a general s factor. We have analyzed these forms of
spontaneity in the following manner: a) the spontaneity which goes into the activation of cultural
conserves and social stereotypes; b) the spontaneity which goes into creating new organisms, new
forms of art, and new patterns of environment; c) the spontaneity which goes into the formation of free
expressions of personality; and d) the spontaneity which goes into the formation of adequate
responses to novel situations.
Psychodrama v. 1 p. 89
Psicodrama Espanhol p. 136
Psicodrama p. 140

SPONTANEITY/FUTURE
… When the twentieth century will close its doors that which I believe will come out as the
greatest achievement is the idea of spontaneity and creativity, and the significant, indelible link
between them. It may be said that the efforts of the two centuries complement one another. If the
nineteenth century looked for the “lowest” common denominator of mankind, the unconscious, the
twentieth century discovered, or rediscovered its “highest” common denominator – spontaneity
and creativity.
Who Shall Survive? p. 48
Fundamentos de la Sociometria p. 60
Quem Sobreviverá? v. 1 p. 154

SPONTANEITY/IMPERFECTION
... In all spontaneity production, it is not the finished work of the artist but these imperfect,
unfinished stages which have the greatest significance, and it requires the readiness of the individual
actor or dramatist to put them into action, to transpose them into movement, gestures, dialogue and
interaction.
Theatre of Spontaneity p. 50
El Teatro de la Espontaneidad p. 93
Teatro da Espontaneidade p. 65

There are psychodramas “conceived in ecstasy” and there are psychodramas which should never
have been born. Nothing is so deadening as rehearsed spontaneity.
Do not pay the price of spontaneity for smoothness, regularity, orderliness, continuity and elegance.
Do not sell the principle for a mess of pottage.
Remember that the greatest liability of therapeutic psychoanalysis was its formlessness. The
greatest asset of psychodrama and the psychodramatic arts (spontaneous dance, music and painting) is
the rise of form and beauty from the ashes of spontaneous production.
 Who Shall Survive? p. lxxvi Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 76 Prelúdios

... A type of universe which is open, that is, a universe in which some degree of novelty is
continuously possible – and this is apparently the type of universe in which human awareness has
arisen – is a favorable condition for the s factor to emerge and to develop. ...
A certain degree of unpredictability of coming events is a premise upon which the idea of the s
factor must rest. ...
High probability of events as to time, place, and form is not a condition favorable for the
development of the s factor. The greater the probability of recurrence of certain events, the smaller is
the probability of s emergence. ...
Another important aspect of human growth is that the range of new experiences reaching the infant
is quantitatively greater than for the adult, and that is of importance not only for the mentally superior
infant, but for every infant. ...
Our assumption here is that the larger the number of new situations, the greater is the probability
that a comparatively large number of new responses will be made by that individual even if we think
that it would be impossible for him to be aware of all situations emerging around him and to respond
to all new situations in an adequate fashion.
Psychodrama v. 1 pp. 87-89
Psicodrama Espanhol pp. 133-136
Psicodrama pp. 137-139

SPONTANEITY/OPERATIONAL DEFINITION
My operational definition of spontaneity is often quoted as follows: The protagonist is challenged
to respond with some degree of adequacy to a new situation or with degree of novelty to an old
situation.
Psychodrama v. 1 p. xii Introduction to 3rd edition
Psicodrama Espanhol p. não há
Psicodrama p. 36 Introdução à 3a Edição

SPONTANEITY/PATHOLOGY OF
... Disorderly conduct and emotionalisms resulting from impulsive action are far from being
desiderata of spontaneity work. Instead, they belong more in the realm of the pathology of spontaneity.
Psychodrama v. 1 p. 111
Psicodrama Espanhol p. 162
Psicodrama p. 163

... Thus I began to “warm up” to prophetic moods and heroic feelings, putting them into my
thoughts, my emotions, gestures and actions, it was a sort or spontaneity research on the reality
level.
Now it was not as simple and objective as that. I wanted, of course, to become an extraordinary
character, a great prophet or Don Juan. But if I would have become it and rested in contentment I
would not have added anything novel to the extension of our knowledge of what spontaneity-creativity
is and what it can accomplish. Some phase of the spontaneous-creative has been at the bottom of
every genuine religion but by just becoming religiously excited the result would have been at best
nothing but a new sect. At times of course, when the warming um process carried me to the height of
ecstasy I played God and infected others to play with me. At other times I looked critically at my
production, my own alter ego, as in a mirror. One of my first discoveries was that spontaneity can get
stale if one does not watch its development, that one can get stale from the very fact of being
spontaneous. The cliché of a spontaneous act, if it is not controlled from within the actor may return
and interfere with the spontaneity of a new act. The second discovery was that spontaneity can be
trained, however small the flame was in the beginning.
Theatre of Spontaneity pp. 5-6
El teatro de la Espontaneidad p. 30
Teatro da Espontaneidade p. 18

... Disorderly conduct and emotionalisms resulting from impulsive action are far from being
desiderata of spontaneity work. They belong in the realm of the pathology of spontaneity.
Psychodrama v. 1 p. 123
Psicodrama Espanhol p. 175
Psicodrama p. 175

SPONTANEITY/PHYLOGENY
Spontaneity appears to be the oldest phylogenetic factor which enters human behavior, certainly
older than memory, intelligence or sexuality. It is in an embryonic stage of development but it has
unlimited potentialities for training. Because it can be tapped directly by Man himself its release can
be well compared with the release of nuclear energy on the physical plane.
Theatre of Spontaneity p. 7
El Teatro de la Espontaneidad p. 33
Teatro da Espontaneidade p. 20

... Although the most universal and evolutionary the oldest, it is the least developed among the
factors operating in Man’s world; it is most frequently discouraged and restrained by cultural
devices. A great deal of Man’s psycho- and socio-pathology can be ascribed to the insufficient
development of spontaneity. Spontaneity “training” is therefore the most auspicious skill to be taught
to therapists in all our institutions of learning and it is his task to teach his clients how to be more
spontaneous without becoming excessive.
Who Shall Survive? p. 42
Fundamentos de la Sociometria pp. 55-56
Quem Sobreviverá? v. 1 p. 149

SPONTANEITY/RESIDUA OF SPONTANEITY
Spontaneous operation refers to the actions taken by the learner in the moment of learning. If the
moment is not completely encountered and lived some residua of the spontaneity in action may result
and block the learner’s progress. These residua may be caused by numerous stimuli, for instance
some stresses in the course of doing, and remain undigested in the learner. It is from the residua of
spontaneous action that what is often called frustration of the learner results. The learner can deal
with his residua in three ways: first, he can let the residua passively mount up until they make his
immediate living unsteady and unbearable, i. e., he becomes mentally ill; second, he can use them as
cliché materials for the building of mental stereotypes and cultural conserves. These two ways have
been practiced almost to the exclusion of any other way; lastly he can stick to spontaneity, try to
resolve the residua by de-conserving and go on actively and systematically by training it.
Who Shall Survive? pp. 540- 541
Fundamentos de la Sociometria p. 362
Quem Sobreviverá? v. 3 pp. 105-106

SPONTANEITY/ROOTS OF THE WORD

The term “factor” is used with some reservation. The term agent or unit could have been used as
well. But faculty, skill or function would connote too specific a meaning.
Psychodrama v. 1 p. 73
Psicodrama Espanhol p. 116
Psicodrama p. 125

... The root of the word “spontaneous” and its derivatives is the Latin sponte, meaning of free will.
Psychodrama v. 1 p. 402
Psicomúsica y Sociodrama, p. 220, Horme.
Psicodrama p. 73

... Concepts as adaptation, flexibility, adjustment and readjustment are continuously dealing with
the s factor and will gain in clarity by its measurement.
Psychodrama v. 1 p. 78
Psicodrama Espanhol p. 122
Psicodrama p. 126

SPONTANEITY/SOCIAL SPONTANEITY
... A fairy-tale is composed of symbols which have a finished expression in every grown-up
individual who has lived in the culture of which the specific fairy-tale is a product. Cinderella or
Snow White, for instance, sensitize ready-made symbols in the spontaneous actors who are portraying
them, and thus a rapid and easily-warmed up production is possible. This, however, has little to do
with individual talent but refers to the “collective” or social spontaneity. It is found to be true of the
class of individuals who have been indoctrinated in their childhood with these fairy-tale symbols
which they now portray in the spontaneity theatre.
Theatre of Spontaneity p. 50
El Teatro de la Espontaneidad p. 92
Teatro da Espontaneidade p. 65

... Yet, in want of a manifold of natural environments we can resort to the creating of experimental
environments, and in want of a manifold of living roles we can resort to fictitious roles which are
brought as close as possible to the living ones. To accomplish this aim we have developed techniques
for “training social spontaneity”.
Who Shall Survive? p. 531
 Fundamentos de la Sociometria p. 354
Quem Sobreviverá? v. 3 p. 95

SPONTANEITY/S FACTOR/ENERGY/CATALYST
The physical law of the conservation of energy was accepted during the second half of the
nineteenth century in many quarters as a universal axiom. ... Freud likewise speculated with the
assumption that libido energy is to remain constant.
Psychodrama v. 1 p. 86
Espanhol p. 132
Psicodrama p. 136

Who shall survive? p. 44

Fundamentos de la Sociometria p. 56
Quem sobreviverá v. 1 p. 151

An adequate theory of spontaneity must do away with other dogmatic assumptions, for instance, the
consideration of spontaneity as a sort of psychological energy – a quantity distributing itself within a
field – which, if it cannot find actualization in one direction, flows in some other direction in order to
maintain “equilibrium”.
Psychodrama v. 1 p. 109
Psicodrama Espanhol p. 159
Psicodrama p. 160

... The idea of the conservation of energy has been the “unconscious” model of many social and
psychological theories, as the psychoanalytic theory of the libido. In accordance with this theory
Freud thought that, if the sexual impulse does not find satisfaction in its direct aim, it must displace its
unapplied energy elsewhere. It must, he thought, attach itself to a pathological locus or find a way out
in sublimation.
Who Shall Survive? pp. 42-43
Fundamentos de la Sociometria p. 56
Quem Sobreviverá? v. 1 p. 150

It is a truism to say that the universe cannot exist without physical and mental energy which can be
preserved. But it is more important to realize that without the other kind of energy, the unconservable
one – or spontaneity – the creativity of the universe could not start and could not run, it would come
to a standstill.
Who Shall Survive? p. 47
Fundamentos de la Sociometria p. 59
Quem Sobreviverá? v. 1 p. 154

... The warming up process is the operational expression of spontaneity.

Who Shall Survive? p. 42
Fundamentos de la Sociometria p. 56
 Quem Sobreviverá? v. 1 p. 150

... The individual is not endowed with a reservoir of spontaneity, in the sense of a given, stable
volume or quantity. Spontaneity is (or is not) available in varying degrees of readiness, from zero to
maximum, operating like a psychological catalyzer. ... Spontaneity functions only in the moment of its
emergence just as, metaphorically speaking, light is turned on in a room, and all parts of it become
distinct. When the light was turned off in a room, the basic structure remained the same, but a
fundamental quality had disappeared.
Psychodrama v. 1 pp. 85-86
Psicodrama Espanhol pp. 131-132
Psicodrama p. 136
The same in
Who shall survive p. 43
Fundamentos de la Sociometria p. 57
Quem sobreviverá v. 1 pp. 150-151

The universe is infinite creativity. But what is spontaneity? Is it a kind of energy? If it is

unconservable, if the meaning of spontaneity should be kept consistent. We must, therefore,
differentiate between two varieties of energy, conservable and unconservable energy. There is an
energy which is conservable in the form of “cultural” conserves, which can be saved up, which can
be spent at will in selected parts and used at different points in time; it is like a robot at the disposal
of its owner. There is another form of energy which emerges and which is spent in a moment, which
must emerge to be spent and which must be spent to make place for emergence, like the life of some
animals which are born and die in the love-act.
Who Shall Survive? p. 47
Fundamentos de la Sociometria p. 58
Quem Sobreviverá? v. 1 p. 152

SPONTANEITY/S FACTOR/INTELLIGENCE/CREATIVITY
... The s factor cuts into and delimits the meaning of intelligence... Intelligence tests do not measure
spontaneity and spontaneity tests do not measure intelligence – in its narrower sense.
Psychodrama v. 1 pp. 73-78
Psicodrama Espanhol p. 121
Psicodrama p. 125

... When the stage actor finds himself without a role conserve, the religious actor without a ritual
conserve, they have to “ad lib”, to turn to experiences which are not performed and readymade, but
are still buried within them in an unformed stage. In order to mobilize and shape them, they need a
transformer and catalyst, a kind of intelligence which operates here and now, hic et nunc,
“spontaneity”. ... It was an important advance to link spontaneity to creativity, the highest form of
intelligence we know or, and to recognize them as the primary forces in human behavior.
Psychodrama v. 1 p. xii Introduction to 4th edition
Psicodrama Espanhol p. não há
Psicodrama pp. 36-37 Introdução à 4a Edição
 ... We may not change the intelligence level of an idiotic child, but we may give him through
Spontaneity Training a fuller life at the level of his capacity, and orient him to it.
Psychodrama v. 1 p. 132
Psicodrama Espanhol p. 186
Psicodrama p. 184

... In this paper and in similar researches which we have published, spontaneity and creativity are
regarded as primary and positive phenomena and not as derivatives of libido or any other animal
drive.
Psychodrama v.1 p. 49
Psicodrama Espanhol p. 87
Psicodrama p. 99

... Although the most universal and evolutionary the oldest, it is the least developed among the
factors operating in Man’s world; it is most frequently discouraged and restrained by cultural
devices. A great deal of Man’s psycho-and socio-pathology can be ascribed to the insufficient
development of spontaneity. Spontaneity “training” is therefore the most auspicious skill to be taught
to therapists in all our institutions of learning and it is his task to teach his clients how to be more
spontaneous without becoming excessive.
Who Shall Survive? p. 42
Fundamentos de la Sociometria pp. 55-56
Quem Sobreviverá? v. 1 p. 149

Spontaneity and creativity are not identical or similar processes. They are different categories,
although strategically linked. In the case of Man his s may be diametrically opposite to his c; an
individual may have a high degree of spontaneity but be entirely uncreative, a spontaneous idiot.
Another individual may have a high degree of creativity but be entirely without spontaneity, a creator
“without arms.
Who Shall Survive? p. 39
Fundamentos de la Sociometria p. 53
Quem Sobreviverá? v. 1 p. 147
... Spontaneity and creativity are thus categories of a different order; creativity belongs to the
categories of substance – it is the arch substance – spontaneity to the categories of catalyzer – it
is the arch catalyzer.
Who Shall Survive? p. 40
Fundamentos de la Sociometria p. 54
Quem Sobreviverá? v. 1 p. 147

... Without creativity the spontaneity of a universe would run empty and end abortive; without
spontaneity the creativity of a universe would become perfectionism and lifeless.
Who Shall Survive? p. 336
Fundamentos de la Sociometria p. 227
Quem Sobreviverá? v. 2 p. 199
SPONTANEITY/S FACTOR/MEMORY
... The s factor cuts into and delimits also the meaning of memory. ... An individual with a low
capacity for the retention of facts by memory may be more spontaneous than individuals with a highly
developed and reliable memory function.
Psychodrama v. 1 p. 78
Psicodrama Espanhol p. 121
Psicodrama p. 125

... Although the most universal and evolutionary the oldest, it is the least developed among the
factors operating in Man’s world; it is most frequently discouraged and restrained by cultural
devices. A great deal of Man’s psycho-and socio-pathology can be ascribed to the insufficient
development of spontaneity. Spontaneity “training” is therefore the most auspicious skill to be taught
to therapists in all our institutions of learning and it is his task to teach his clients how to be more
spontaneous without becoming excessive.
Who Shall Survive? p. 42
Fundamentos de la Sociometria pp. 55-56
Quem Sobreviverá? v. 1 p. 149

SPONTANEITY/S FACTOR/PHYSICAL DEVELOPMENT /MENTAL

DEVELOPMENT
... But there comes a point in the development of the infant when intelligence and memory take the
lead and the s factor is forced more and more to be subservient to them. With the breach between
fantasy and reality, a new flare-up of the s factor takes place. For a while it seems as if it would be
able to make intelligence, memory and the social forces subservient to itself. But finally it submits to
the mighty social and cultural stereotypes which dominate the human environment. The s factor
becomes from then on, as the child grows older, the forgotten function.
Psychodrama v.1 pp. 79-80
Psicodrama Espanhol pp. 123-124
Psicodrama p. 131

... There must be a factor with which Nature has graciously provided the newcomer... ... To this
factor, we apply the term spontaneity (s factor).
Psychodrama v. 1 pp. 50-51
Psicodrama Espanhol p. 90
Psicodrama p. 101

... But we favor the hypothesis that the s factor is neither strictly a hereditary factor nor strictly an
environmental factor. It seems to be more stimulating to the present state of biogenetic and social
research to assume that there is within the range of individual expression an independent area
between heredity and environment, influenced but not determined by hereditary (genes) and social
forces (tele). The s factor would have in this area its topographical location.
Psychodrama v. 1 p. 51
Psicodrama Espanhol p. 90
 Psicodrama p. 101

... The fact that this s factor can be demonstrated and isolated in action and in behavior tests of
children, indicates that a somatic counterpart exists. ... The high sensitivity of the brain tissue for s
factor or – symbolically speaking – the original spontaneity of the brain tissue may be the reason why
the latter and gradual specialization of the brain into centers and functions is never rigid and absolute.
Psychodrama v. 1 p. 52
Psicodrama Espanhol p. 91
Psicodrama p. 102

... It may be of value to review the brain development from the point of view of spontaneity theory,
and to estimate the comparative degree of spontaneity which every part of the brain retains.
Psychodrama v. 1 p. 52
Psicodrama Espanhol p. 91
Psicodrama pp. 102-103

... If there is a neurological localization of the spontaneitycreativity process it is the least

developed function of man’s nervous system.
Who Shall Survive? p. 47
Fundamentos de la Sociometria p. 60
Quem Sobreviverá? v. 1 p. 154

SPONTANEITY/SOCIOMETRIC NETWORK
Every individual gravitates towards a situation which offers him as a personality the highest degree
of spontaneous expression and fulfillment and he continuously seeks for companions who are willing
to share with him.
Who Shall Survive? p. 386
Fundamentos de la Sociometria p. 261
Quem Sobreviverá? v. 2 p. 240

... The spontaneity of one is a function of the spontaneity of the other. A decrease or loss in the
spontaneity of one may produce a decrease or loss of spontaneity of the other of the three chief agents
of production, protagonist, director and audience.
Who Shall Survive? p. lxxiv Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 75 Prelúdios

SPONTANEITY/SPONTANEITY STATE
... It is not given like words or colors. It is not conserved, or registered. The Impromptu artist
must warm up, he must make it climbing up the hill. Once he runs up the road to the “state”, it
develops in full power.
The spontaneity state is a distinct psychological entity.
... For “state” motivates often not only an internal process, but also a social, external relationship,
that is, a correlation with the “state” of another creating person.
 Psychodrama v. 1 pp. 36-37
Psicodrama Espanhol p. 70
Psicodrama p. 86

... Spontaneous states are of short duration, extremely eventful, sometimes crowded with
inspirations. I defined them then as bits of time, the smallest units of time. It is the form of time which
is actually lived by an individual, not only perceived or constructed.
Psychodrama v. 1 p. 286
Psicodrama Espanhol p. 309
Psicodrama p. 283

... We decided to let the subject act as if he had no past, and were not determined by an organic
structure; to describe what occurs with the subject in these moments in terms of action; to stick to the
evidence as it emerges before our eyes, and to derive out working hypotheses from it exclusively. The
starting point was the state into which the subject threw himself for the purpose of expression. He
threw himself into it at will. There was no past image guiding him, at least not consciously. There
was no striving in him to repeat a past performance or to surpass it. He warmed up to a state of
feeling often jerkily and inadequately. He showed a sense of relationship to people and things around
him. After a few moments of tension came relaxation and pause, the anti-climax. We called this state
the Spontaneity State…
Psychodrama v. 1 pp. 83-84 (notes)
Psicodrama Espanhol p. 129 (notas)
Psicodrama p. 134 (nota suplementar)

Yet how is it possible to arrive at a systematic viewpoint for the training of an organism in
spontaneity? The “learning to be spontaneous” presupposes an organism which is able to sustain a
flexible state more of less permanently, and this is apparently in discord with many psychological
theories. However, we resorted to the point of view suggested by pure naiveté. ... We decided to let
the subject act as if he had no past, and were not determined by an organic structure; toZ describe
what occurs with the subject in these moments in terms of action; to rely upon the evidence as it
emerges before our eyes, and to derive our working hypotheses from it exclusively.
The starting point was the state into which the subject threw himself for the purpose of expression.
He threw himself into it at will. There was no past image guiding him, at least not consciously.
... We called this process the Spontaneity State.
Psychodrama v. 1 pp. 130-131
Psicodrama Espanhol pp. 182-183
Psicodrama p. 182

Our first objective in this training is the achievement of the Spontaneity State. This state is a
distinctive psychophysiological condition; it may described for instance as your condition when as a
poet you feel an impulse to write or in the case of a business man you feel when the great Idea takes
hold of you; it is the moment of Love, of Invention, of Imagination, of Worship, of Creation.
Psychodrama v. 1 p. 141
Psicodrama Espanhol p. 196
 Psicodrama pp. 193-194

That which, for the legitimate actor, is the point of departure – the spoken word – is for the
spontaneity player the end stage. The spontaneity player begins with the spontaneity state.
Theatre of Spontaneity p. 73
El Teatro de la Espontaneidad p. 130
Teatro da Espontaneidade p. 89

SPONTANEITY/TEST
In its preparatory phase, the spontaneity theatre becomes a psycho-technical laboratory. The
director prepares the ground for the productions; this phase of the work is strictly exploratory. He
sets up the various experimental or test situations. The patterns which the actors set out to produce are
either situations and roles which they themselves wish to produce and which they may have within
themselves at some degree of development, or situations and roles for which they have little or no
experience. If such tests of spontaneous actors are made in a large number of situations and roles, then
a graduated scale can be constructed which will show their comparative degrees of spontaneity and
readiness for different situations and roles. The material gained from such spontaneity tests can be
used for diagnostic interpretation and as an opening for the development of the spontaneity of
individuals in the functions, roles and situations which have been found to be in a rudimentary state –
a sort of training in spontaneity.
Theatre of Spontaneity p. 39
El Teatro de la Espontaneidad p. 74
Teatro da Espontaneidade p. 53

Many hundreds of spontaneity tests were made in this laboratory and many hundreds of productions
were presented before and in collaboration with audiences. Day by day the results of these tests were
interpreted and analyzed. This led to a mass of systematic knowledge in preparation for a theory of
spontaneity and creativity which could be based upon actual experiments. It led further to the
invention of methods and techniques which could increase the resourcefulness and skill of the
individual, a process which is called spontaneity training.
Theatre of Spontaneity p. 41
El Teatro de la Espontaneidad p. 77
Teatro da Espontaneidade p. 55

The spontaneity test places an individual in a standard life situation which calls for definite
fundamental emotional reactions, called spontaneity states, as fear, anger, etc. If permitted to expand
they turn into role playing.
Who Shall Survive? pp. 104-105
Fundamentos de la Sociometria p. 94
Quem Sobreviverá? v. 1 p. 204

... The second test meeting this demand is the spontaneity and roleplaying test. Here is a standard
life situation which the subject improvises to his own satisfaction.
Who Shall Survive? p. 105
 Fundamentos de la Sociometria p. 95
Quem Sobreviverá? v. 1 pp. 204-205

The Spontaneity Test is able to uncover feelings in their nascent, initial state. Through it the tester
can get a better knowledge of the genuine responses an individual may develop in the course of
conduct and perceive acts in the moment of their performance. ... It is methodically important to treat
“acts as parts of an actor” in conjunction with the products of his acting.
Who Shall Survive? p. 337
Fundamentos de la Sociometria p. 228
Quem Sobreviverá? v. 2 p. 200

The purpose of the spontaneity test, in this application is to explore the range and intensity of the
spontaneity of individuals in their exchange of emotions.
... The subject is instructed as follows: “throw yourself into a state of emotion towards X. The
precipitating emotion may be either anger, fear, sympathy or dominance. Develop any situation you
like to produce with her, expressing this particular emotion, adding to it anything which is sincerely
felt by you at this time.
Who Shall Survive? p. 347
Fundamentos de la Sociometria p. 236
Quem Sobreviverá? v. 2 p. 208

SPONTANEITY/TEST/AUDIENCE
The audiences consists of a jury of three, two recorders, and auxiliary egos. The situation consists
of events which require a series of emerging responses as follows:...
Psychodrama v. 1 p. 94
Fundamentos de la sociometria p. 142
Psicodrama p. 145

SPONTANEITY/TEST/PROCEDURE
Test procedure. The following test contains a series of emergencies in which appropriateness, a
form of spontaneity, is bound to operate....
Put a subject into a life situation and see how he acts. ... In other words, there are two types of
events taking place on the stage – actual events (he sees, touches, and moves a desk, a telephone, or a
broom; he encounters auxiliary egos in specific roles) and ordered events (fire has not broken out but
he has to act as if it would be true).
Psychodrama v. 1 pp. 93-94
Psicodrama Espanhol p. 141
Psicodrama p. 144

SPONTANEITY/TEST/SAMPLE
... From more than three hundred individuals tested, a few individuals are selected here for
illustration. They have nearly the same sociometric status, as measured by sociometric tests. Their
intelligence quotients range from 75 to 130.
Psychodrama v. 1 p. 93
 Psicodrama Espanhol p. 141
Psicodrama p. 144

SPONTANEITY/THEORIES ABOUT
... To Henri Bergson, for one, goes the honor of having brought the principle of spontaneity into
philosophy (although he rarely used the word), at a time when the leading scientists were adamant
that there is no such thing in objective science. But his “données immediates”, his “élan vital” and
“durée” were metaphors for the one experience which permeated his life’s work – spontaneity – but
which he vainly tried to define. There is no “moment” in his system, only durée. “Duration is not one
instant replacing another … duration is a continuous progress of the past which gnaws into the future
… the piling up of the past upon the past goes on without relaxation.” Bergson’s universe cannot start
and cannot relax, it is a system in which there is no place for the moment. … But without the moment
as locus nascendi, a theory of spontaneity and creativity threatens to remain entirely metaphysical or
to become entirely automatic.
Psychodrama v. 1 pp. 8-9
Psicodrama Espanhol pp. 30-31
Psicodrama pp. 57-58

Soon after, almost on his heels but obviously independent of Bergson, Charles Saunders Peirce,
founder of pragmatism, made astonishing references to spontaneity… “…what is spontaneity? It is the
character of not resulting by law from something antecedent. … I don’t know what you can make out
of the meaning of spontaneity, but newness, freshness and diversity.” … Like Bergson, Peirce was a
spectator-philosopher, not an actor-philosopher.
Psychodrama v. 1 p. 9
PsicodramaEspanhol p. 31
Psicodrama p. 58

SPONTANEITY/TRAINING
... Spontaneity training leads to a form of learning which aims at a greater unity and energy of
personality than heretofore accomplished by other educational methods. The primary objective is the
training in spontaneous states and not the learning of contents. Emphasis upon contents results in the
split of the individual into an act personality and a content personality. We have found it a valuable
hypothesis to assume that two different memory “centers” develop, an act center and a content
center, which continue, in general, as separate structures without connection.
Psychodrama v. 1 pp. 138-139
Psicodrama Espanhol p. 193
Psicodrama p. 191

... Conditions of high cultural and technological organization coincide alarmingly with increased
immobility of thought and action.
This also explains why actors of the legitimate theatre and their dramatists are rarely able to do any
spontaneity work. For the presentation of spontaneous states and spontaneity ideas, individuals are
required who have undergone a specific training. This training will produce people who have learned
rapidly to embody their own inspirations and to react rapidly to those of others.
 Theatre of Spontaneity p. 40
El Teatro de la Espontaneidad p. 76
Teatro da Espontaneidade p. 54

We introduced precisely such situations as might arise in relations of this sort in order that conduct
in these situations might be improved through incorporating functions relating to them into plays.
Who Shall Survive? p. 534
Fundamentos de la Sociometria p. 356
Quem Sobreviverá? v. 3 p. 98

Therefore, the objective of a spontaneity theory of learning is to develop and sustain a spontaneous
and flexible personality make-up. A technique of Spontaneity Training as described has to come to
the rescue to offset the resignation and inertia of the individual.
Who Shall Survive? pp. 538-539
Fundamentos de la Sociometria p. 360
Quem Sobreviverá? v. 3 p. 103

A series of life situations calling for the embodiment of specific states and roles is constructed.
This series is not arbitrary but organized upon the basis of the findings of the sociometric and
Spontaneity Tests in relation to the specific individual under training. Each of the situation-patterns is
constructed through several phases ranging from the simplest possible form of a given situation-
pattern through the more complex forms to the most highly differentiated, all carefully graduated
according to the requirements of the subject.
Who Shall Survive? p. 536
Fundamentos de la Sociometria p. 358
Quem Sobreviverá? v. 3 p. 100

... The system of spontaneity training has an aim which differs from legitimate, dramatic rehearsing.
The memory of the player should be so trained that he has a reservoir of “freedom”, as a large a
number of variable motions as possible ready, so that he has many alternative responses at his
disposal, enabling him to choose among them the most fitting response to the situation facing him.
Theatre of Spontaneity p. 66
El Teatro de la Espontaneidad p. 118
Teatro da Espontaneidade p. 82

Spontaneity research has disclosed that spontaneity is not a mystic and irrational factor, but a
capacity with which all men are endowed and which can be tested and trained. The problem of
learning becomes one of not inducing and conserving habits but to train spontaneity, to train and
develop man to the habit of spontaneity.
Who Shall Survive? p. 535
Fundamentos de la Sociometria p. 358
Quem Sobreviverá? v. 3 p. 100

... The actor must therefore learn to unchain himself from old clichés. By means of exercises in
spontaneity he must learn how to make himself free gradually from habit formations. He must store in
his body as large a number of motions possible to be called forth easily by means or an emerging
idea.
Theatre of Spontaneity p. 66
El Teatro de la Espontaneidad p. 118
Teatro da Espontaneidade p. 82

Yet how is it possible to arrive at a systematic viewpoint for the training of an organism in
spontaneity? The “learning to be spontaneous” presupposes an organism which is able to sustain a
flexible state more of less permanently, and this is apparently in discord with many psychological
theories. However, we resorted to the point of view suggested by pure naiveté. … We decided to let
the subject act as if he had no past, and were not determined by an organic structure; to describe what
occurs with the subject in these moments in terms of action; to rely upon the evidence as it emerges
before our eyes, and to derive our working hypotheses from it exclusively.
The starting point was the state into which the subject threw himself for the purpose of expression.
He threw himself into it at will. There was no past image guiding him, at least not consciously.
... We called this process the Spontaneity State.
Psychodrama v. 1 pp. 130-131
Psicodrama Espanhol pp. 182-183
Psicodrama p. 182

SPONTANEITY/WARMING UP PROCESS
... There are many more Michaelangelos born than the one who painted the great paintings, many
more Beethovens born than the one who wrote the great symphonies, and many more Christ born than
the one who became the Jesus of Nazareth. What they have in common are the creative ideas,
motivation, intelligence, skill and education. What separates them in the spontaneity which, in the
successful cases, enables the carrier to take full command of the resources whereas the failures are at
a loss with all their treasures; they suffer from deficiencies in their warming-up process.
Psychodrama v. 1 p. 91
Psicodrama Espanhol p. 139
Psicodrama p. 142

STAGE
STAGE/DIVÃ

SEE IN
Psychodrama v. 1 pp. 262-276
Psicodrama (Spanish) pp. 349-360
Psicodrama pp. 319-332

When I entered a theatre I knew that it had moved far astray from its primordial form. Therefore,
after I had constructed a stage for the new theatre which was to give mankind a sort of dramatic
religion, many asked by whom I had been influenced to build a stage of such dimensions, one which is
placed in the center instead of the periphery; one which permits movement unlimited instead of
limited; one which is open to all sides instead of in front; one which has the whole community around
it, instead of only a part; one which has the form of a circle instead of a square; one which moves up
in vertical dimension, instead of maintaining a single level. The stimulus was not the stage of
Shakespeare or the stage of the Greeks, I had taken the model from nature itself.
Theatre of Spontaneity p. 4
El Teatro de la Espontaneidad p. 27
Teatro da Espontaneidade p. 16

The strict separation between the stage and audience is the marked characteristic of the legitimate
theatre.
Theatre of Spontaneity p. 31
El Teatro de la Espontaneidad p. 61
Teatro da Espontaneidade p. 45

... With the dissolution of the contrast between players and spectators, however, the total space
becomes a field of production. Every part of it must reflect the principle of spontaneity; no part of it
can remain excluded. In the center of the space is built the stage of the spontaneous actors. It is not
built at the back of one end of the space, hidden like the peepshow stage, but it is built so that all its
parts can be seen from all seats. It is not built in the depth and left there down on the ground, but it is
erected in the vertical dimension. It is raised. Its back is not protected by backdrops, it does not look
for help and defenses in the rear, it has nothing to fall back on. From the central stage steps lead up
and down in an amphi-theatrical form. They lead to the special stages which are built within the
auditorium itself, on every level of the amphitheatre, ready to be used by spectator-actors who may
enter into dramatic action. In the theatre for spontaneity the whole community is present.
Theatre of Spontaneity p. 31
El Teatro de la Espontaneidad pp. 61-62
Teatro da Espontaneidade p. 45

... The first rule which I postulated for new theatrical construction was that all events on the stage
should be clearly visible from every part of the audience. Therefore the construction of the “round”
stage (or circular stage), the elimination of the “Guck Kasten Buehne” (peepshow stage). Another
consequence was the “open” stage, open on all sides, the actor had no escape to turn to, no curtain in
front and no backstage, he was thrown into space and had to act there. The emphasis was therefore on
spontaneity, on the warming up, and the movement on the stage. Everything which occurred
previously backstage now occurred before the eyes of the public.
Theatre of Spontaneity p. 99
El Teatro de la Espontaneidad p. 166
Teatro da Espontaneidade p. 117

... The first instrument is the stage. Why a stage? It provides the actor with a living space which is
multi-dimensional and flexible to the maximum. The living space of reality is often narrow and
restraining, he may easily lose his equilibrium. On the stage he may find it again due to its
methodology of freedom – freedom from unbearable stress and freedom for experience and
expression. The stage space is an extension of life beyond the reality test of life itself. Reality and
fantasy are not in conflict, but both are functions within a wider sphere – the psychodramatic world of
objects, persons and events. In its logic the ghost of Hamlet’s father is just as real and permitted to
exist as Hamlet himself. Delusions and hallucinations are given flesh – embodiment on the stage – and
an equality of status with normal sensory perceptions. The architectural design of the stage is made in
accord with operational requirements. Its circular forms and levels of the stage, levels of aspiration,
pointing out the vertical dimension, stimulate relief from tensions and permit mobility and flexibility
of action. The locus of a psychodrama, if necessary, may be designated everywhere, wherever the
subjects are, the field of battle, the classroom or the private home. The ultimate resolution of deep
mental conflicts requires an objective setting, the psychodramatic theatre.
Who Shall Survive? p. 82
Fundamento de la Sociometria p. 75
Quem Sobreviverá? v. 1 pp. 183-184

STAGE
Please research on
Psychodrama, v. 1, pp.162-276
Psicodrama Spanish, pp. 349-360
Psicodrama Portuguese, pp. 319-332

... Putting a platform or a stage in the room, or designating a special area for production, gave
“official” license to a tacitly accepted practice. It was then understood by the group that when its
deep emotions were striving for dramatic expression, this place could be used for production. The
stage is not outside but inside of the group.
Psychodrama v. 2 pp. 191-192
Las Bases de la Psicoterapia p. 308
Fundamentos do Psicodrama p. 208

... The living space of reality is often narrow and restraining; he may easily lose his equilibrium.
On the stage he may find it again, due to its methodology of freedom – freedom from unbearable stress
and freedom for experience and expression. The stage space is an extension of life beyond the reality
test of life itself. Reality and fantasy are not in conflict, but both are functions within a wider sphere –
the psychodramatic world of objects, persons and events. ... The stage’s circular forms and levels –
levels of aspiration – point up to the vertical dimension, stimulate relief from tensions and permit
mobility and flexibility of action. High above the stage is the balcony level from where the
megalomaniac, the Messiah, the hero, communicates with the group. The space surrounding the stage
is designed to contain the group.
Psychodrama v. 2 p. 192
Las Bases de la Psicoterapia pp. 309-310
Fundamentos do Psicodrama p. 209

STAGE/HISTORY
There was a relationship traceable from the open, circular stage of the Stegreiftheater, to the
Russian experiments of Wachtangow, Tairow, and Mayerhold. The difference between my own stage
construction and those of the Russians was that their stages, however revolutionary in form, were still
dedicated to the rehearsed production, being therefore revolutionary in external expression and in
content of the drama, whereas the revolution which I advocated was complete, including the
audience, the actors, the playwright and producers, in other words, the people themselves, and not
only forms of presentation. In consequence the forms of the Russian stage architecture were
somewhere between the two extremes, the old Guck Kasten Buehne on one side and the open vertical
and central stage of the Stegreiftheater on the other.
Theatre of Spontaneity p. 100
El Teatro de la Esponatneidad pp. 166-167
Teatro da Espontaneidade p. 118

The influences upon my own ideas did not come primarily from the theatre; my Leitmotiv were the
free open spaces in which I moved and played with children, and an attempt to duplicate these free
open spaces by means of architecture. Hence, the freedom of movement permitted by the stage, its
openness, its central position and its vertical dimension. I found later historical parallels in certain
forms of the Greek stage rather than in the Shakespearean.
The first model of the stage was built under my direction by Paul Honigsfeld and Peter Gorian,
exhibited at the Internationale Ausstellung Neuer Theatertechnik in Vienna in 1924. *
Theatre of Spontaneity p. 100
El Teatro de la Esponatneidad p. 167
Teatro da Espontaneidade p. 118

STANISLAVSKI
STANISLAVSKI/CONSERVE
... Stanislavski was an ardent protagonist of the drama conserve, the drama of Shakespeare,
Racine, Moliere and Checkov. It was his highest ambition to reproduce the work of the playwright as
dynamically and perfectly as possible.
Psychodrama v. 1 p. 39
Psicodrama Espanhol p. 73
Psicodrama p. 88
SAME IN
Theatre of Spontaneity p. 101
El Teatro de la Espontaneidad p. 169
Teatro da Espontaneidade p. 119

... Just as Stanislavski was a conscious adherent of the drama conserve we became conscious
protagonists of the spontaneous drama.
Theatre of Spontaneity p. 102
El Teatro de la Espontaneidad p. 170
Teatro da Espontaneidade p. 120
SAME IN
Psychodrama v. 1 p. 39
 Psicodrama Espanhol p. 73
Psicodrama p. 89

STANISLAVSKI/FREUD
... The emphasis upon memories loaded with affect brings Stanislavski in curious relation to Freud.
Freud, too, tried to make his patient more spontaneous just as Stanislavski tried to make his actors
more spontaneous in the acting of conserved roles. Like Stanislavski, Freud tried to evoke the
actual experience of the subject but also he preferred intensive experiences of the past to the moment
– for a different application however – for the treatment of mental disturbances.
Psychodrama v. 1 p. 39
Psicodrama Espanhol p. 73
Psicodrama p. 88

STANISLAVSKI/IMPROVISATION/AS A PRIMARY PRINCIPLE

The theatre for Spontaneity has no relation to the so-called Stanislavski method. Improvisation in
this method is supplementary to the aim of playing a great Romeo or a great King Lear. The element
of spontaneity is here to serve the cultural conserve, to revitalize it. The method of improvisation, as
a primary principle, to be developed systematically in spite of the conserve and the serving it
consciously was outside of Stanislavski’s domain.
... He limited the factor of spontaneity to the re-activation of memories loaded with affect. This
approach tied improvisation to a past experience instead of the moment. But as we know it was the
category of the moment which gave the spontaneity work and the psychodrama its fundamental
revision and direction.
Theatre of Spontaneity pp. 100-101
El Teatro de la Espontaneidad pp. 168-169
Teatro da Espontaneidade p. 119
SAME IN
Psychodrama v. 1 pp. 38-39
Psicodrama Espanhol p. 72
Psicodrama p. 88

There is a superficial relationship between psychodrama and Stanislavski`s method. However,

whereas Stanislavski used improvisation partially in order to perfect the performance, I permitted,
even encouraged imperfection in order to attain total spontaneity.
The Theater of Spontaneity, p. c
El Teatro de la Espontaneidad, p. 16
O teatro da Espontaneidad, p. 11

STARTER
... Bodily movements were found to follow one another in a certain order of succession according
to which starter initiates the warming up. If the succession is interrupted the temporal order is spoiled
and the state of feeling released is confused.
Who Shall Survive? p. 339
 Fundamentos de la sociometria p. 230
Quem Sobreviverá? v. 2 p. 201

STARTER/BODILY STARTERS
... Our experimental study of the warming up process as it develops into an act led us first to the
observation of warming up indicators. These are not social and mental signs only but also
physiological signs, altered breathing rate, gasping, crying, smiling, clenching the teeth, etc. The
bodily starters of any behavior as acting or speaking on the spur of the moment are characterized by
physiological signs.
Who Shall Survive? p. 338
Espanhol pp. 228-229
Quem Sobreviverá? v. 2 p. 200

STARTER/ECONOMIC STARTER
... The economic starter, however, arouses different responses in different people. As there are fast
groups, - fast workers, fast eaters, there are also slow groups, - slow workers, and slow eaters. In the
realm of creativity, there are fast and slow creators. ... An important work may remain unfinished
because its creator is inclined to drag his warming-up process on and on so that he misses the
psychological moment for ending the work. It is here that the economic starters play a catalytic role.
The great effect of contract and piece work in manual labor for accelerating production is taken as a
matter of course. ... The enormous production of the great masters of the renaissance is not so much
related to a greater productivity than many modern artists possess, as to the fact that certain nobles of
that period assigned them to a certain task to be finished in a given time – a contract work.
Psychodrama v. 1 p. 309
Psicomúsica y Sociodrama pp. 64-65, Horme
Psicodrama pp. 366-367

STARTER/MENTAL STARTER
Secondly, we experimented with the intentional production of specific results, for instance, certain
perceptions, certain acts or roles, or certain emotional states. In this experiment a mental starter
replaces the bodily starters. The subject is conscious of a goal and told to produce a certain state, for
instance, “throw yourself into the state of anger”. Now he knows his goal ahead. The more successful
the subject is in throwing himself into the desired state the better coordinated to the state will be the
verbal and the mimic associations produced (adequate state).
Who Shall Survive? p. 339
Fundamentos de la Sociometria p. 230
Quem Sobreviverá? v. 2 pp. 201-201

STARTER/RELATIONSHIP STARTER
... But even he11 placed into a spontaneous play, falls victim to the technique of warming up the
more genuine his performance. The reason for this can be explained. The motive in actual life when
we warm up to an emotional state is usually another person’s behavior. But in an extemporaneous
play this motive is missing, the fictitious partner being too weak a substitute. To start the warming up
of an emotion a special effort is needed which is the greater the simpler the emotions,...
 Who Shall Survive? p. 340
Fundamentos de la Sociometria pp. 230-231
Quem Sobreviverá? v. 2 p. 202

STARTER/THERAPEUTIC IMAGES
The aim or our retraining is to arouse and increase the spontaneity of the reproducing musician.
Therapeutic images are simply one method which can be used to advantage. ... The method of
activating images is only a crutch to aid the musician or the pupil in the process of learning to be
spontaneous.
Psychodrama v. 1 p. 307
Psicomúsica y Sociodrama p. 61, Horme
Psicodrama pp. 364-365

STATUS
STATUS/LEADERS
... If it comes to estimating, therefore, which individual wields more power in the community, the
number of attractions and rejections an individual has does not alone figure, but who are the choosing
and rejecting ones and what expansion range their networks have. In other words, we arrive here to
the problem of classifying leadership.
Who Shall Survive? pp. 239-240
Fundamentos de la Sociometria p. 174
Quem Sobreviverá? v. 2 p. 114

STATUS/NASCENDI
... The primary moment of creation is the status nascendi.
Theatre of Spontaneity p. 89
El Teatro de la Espontaneidad p. 154
Teatro da Espontaneidade p. 105

... The status nascendi is seldom also a perfect state. The earlier attempts spring from the same
inspiration as the final stage. The design is not a fragment; the whole work is contained in it. ... But he
goes on “correcting” until it is finished. It is his code to bring his work as closely as possible to some
ideal of perfection that he sets up. The author, like the wicked father in the fairy tale, has no mercy on
his own children. He kills the first born for the benefit of the last born.
The early forms of a given work are normally not known to the world.
Psychodrama v. 1 pp. 37-38
Psicodrama Espanhol p. 71
Psicodrama p. 87

STATUS NASCENDI/LOCUS/MATRIX
“In a philosophy of the Moment three factors to be emphasized: the locus, the status nascendi, and
the matrix. These represent three views of the same process. There is no ‘thing’ without its locus, no
locus without its status nascendi, and no status nascendi without its matrix. The locus of a flower, for
instance, is in the bed where it is growing. Its status nascendi is that of a growing thing as it springs
from the seed. Its matrix is the fertile seed, itself. Every human act or performance has a primary
action-pattern – a status nascendi. An example is the performance of eating which begins to develop
the role of the eater in every infant soon after birth. The pattern of gestures and movements leading up
to the state of satiation is, in this instance, the warming-up process”. See Moreno, J. L., “Foundations
of Sociometry”, Sociometry, vol. 4, no 1, 1941. These principles can be applied to the origin of the
human organism. The locus nascendi is the placenta in the mother’s womb; the status nascendi is the
time of conception. The matrix nascendi is the fertilized egg from which the embryo develops. The
initial phase of a living process has been greatly neglected as compared with more advanced phases
and the terminal phase. It has been a chief contribution of spontaneity and creativity research that the
conception process of, for instance, the Ninth Symphony of Beethoven is of, at least equal, if not
greater, importance than the “birth” of the work. When dealing with a living organism, we are turning
our attention from the level at birth back to the level of conception itself. Methods for the direct study
of the embryo in its intra-uterine environment are coming nearer to the orbit of technical fulfillment.
Motion pictures of embryonic life throughout the nine months of pregnancy are necessary in order that
we may get a view of his responses from stage to stage. It may be that some technical apparatus will
be forthcoming in the form of a type of moving X-ray pictures combining the techniques of the moving
picture with those of X-ray photography.
Psychodrama v. 1 p. 55 (footnote)
Psicodrama Espanhol p. 95 (nota)
Psicodrama pp. 105-106 (nota de rodapé)

STATUS/SOCIOMETRIC STATUS/EXPOSITION TO INJURY

27. The lower the sociometric status of individuals the more are they exposed to injury from the
powerful members and cliques of the group.
Who Shall Survive? p. 703
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 193

STATUS/SOCIOMETRIC STATUS/OPERATIONAL DEFINITION

Sociometric status, operational definition: the number of times an individual has been chosen by
other individuals as a preferred associate for all activities in which they are engaged at the time of the
test. It is obtained by adding the number of choices each individual receives on each criterion.
Who Shall Survive? p. 720
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 214

STATUS/SOCIOMETRIC STATUS/PARTIALITY
33. Sociometric status is related to a concrete and specific group only, it does not suggest universal
status or universal acceptance.
Who Shall Survive? p. 704
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 194
STATUS/SOCIOMETRIC STATUS/STABILIZATION
23. Stabilization of sociometric status is gradual, there is an early period during which individuals
alter their choices frequently; ... ... It develops from early mobility to final stabilization, a) in
proportion to the number of contacts made, and b) if the membership and size of the group remains
constant.
Who Shall Survive? p. 702
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 192

STATUS/SOCIOMETRIC STATUS/VERBAL EXCHANGE

10. Interaction Hypotheses.
The verbal “exchange” of an individual in interaction with others is an index of his sociometric
status in the reference group.
Who Shall Survive? p. 706
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 196

11. The ratio of the volume of words given and received by individuals with whom he is involved
in significant situations of their reference group increases or decreases in proportion with his
sociometric status. If an individual is an isolate or neglected individual in the reference group the
volume of words he will speak will be low in comparison with that of his sociometric partners who
reject of isolate him. The higher the sociometric status of an individual, the larger will be the volume
of words which is expected and accepted from him by other members of the group. The lower the
sociometric status of individuals, the lower is the volume of words expected and accepted from them
by other members in the group.
Who Shall Survive? p. 706
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 pp. 196-197

12. The higher the sociometric status of an individual, the more frequently he will be permitted to
assume initiative in situations; the lower his sociometric status, the less frequently will initiative from
him be expected and accepted. The higher the sociometric status of an individual, the more frequently
will be terminate and conclude a situation; the lower his sociometric status the less frequently will he
terminate and conclude a situation.
Who Shall Survive? p. 706
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 197

15. Indifference and apathy in the verbal communication of an individual towards aggressive
verbal behavior of others in a given situation is a clue to a persistently poor sociometric status.
Who Shall Survive? p. 707
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 197
STATUS/SOCIOMETRIC STATUS/VOLUME OF INTERACTIONS
30. Sociometric status and volume of interaction within a group are related. The higher the
sociometric status of an individual the more frequently will he interact with members of the group.
Who Shall Survive? p. 703
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 194

1. The sociometric status of an individual is defined by the quantitative index of choices, rejections
and indifferences received in the particular group studied.
Who Shall Survive? p. 704
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 195

1. The sociometric status of an individual rises when the individual with whom he is connected by
positive tele relations have a higher sociometric status.
Who Shall Survive? p. 704
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 195

9. With every change in the sociometric status of an individual a change in his behavior within the
life setting is indicated.
10. Interaction Hypotheses.
The verbal “exchange” of an individual in interaction with others is an index of his sociometric
status in the reference group.
Who Shall Survive? p. 706
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 196

STUTTERING
The trembling is a form of musical stuttering. It can be diagnosed as a performance neurosis or a
neurosis of creativity. It is not stage fright. ... The constellation of his mental syndrome is the product
of many factors. Some of these are the organization of the cultural milieu in which he lives, a
maladjustment to the violin, a maladjustment to musical conserves, and a maladjustment to his
audiences.
Psychodrama v. 1 p. 298
Psicomúsica y Sociodrama pp. 48-49, Horme
Psicodrama p. 355

... There are several methods by which one can learn to mobilize easy transfer, for instance, the
improvisation of senseless manufactured words and phrases in the treatment of stutterers.
Who Shall Survive? p. 543
Fundamento de la Sociometria p. 364
 Quem Sobreviverá? v. 3 p. 108

... It is a method in “deconserving” the learner’s mind, gradual removal of clichés and training his
spontaneity. One area of application is stuttering. It moves the stutterer from the semantic to the
presemantic level of speech. ... This chaotic, spontaneous, freely emerging language I have called
“basic language” as it has some similarity to the baby languages of the infant.
Who Shall Survive? p. 543
Espanhol pp. 364-365
Quem Sobreviverá? v. 2 p. 109

SUBJECTIVISM/OBJECTIVISM
We sociometrists have emphasized since our early days that the human being in his total
subjectivism has to be made part and parcel of scientific analysis in order to provide the investigator
with a complete phenomenological account of what takes place in the human situation. We have
demonstrated that if subjectivism is taken seriously, it assumes a “quasi-objectivistic” character
which lends the phenomena to “measurement”. ... One is the utterly subjectivistic and existentialistic
situations of the subject; the order is the objective requirements of the scientific method. The question
is how to reconcile the two extreme positions. Sociometry and psychodrama have defined this
methodological problem and have tried to solve it. “Existential validation” pays homage to the fact
that any experience may be reciprocally satisfactory at the time of the consummation, here and now.
Psychodrama v. 2 pp. 215-216
Las Bases de la Psicoterapia pp. 342-344
Fundamentos do Psicodrama pp. 230-231

SUICIDE/TO COMMIT SUICIDE

... But if he makes nonacting out a rule, the patient may kill himself the next day, and so he may not
return to the next psychoanalytic hour, except in the form of an obituary note from the relatives. If
acting out does take place during the session and if the episode is not properly carried out by the
therapist, this, of course, also can be harmful to the patient. So the crux of the matter is that acting out
be tolerated and allowed to take place within a setting which is safe for execution and under the
guidance of therapists who are able to utilize the experience.
May be that some technical apparatus will be forthcoming in the form of a type of moving X-ray
pictures combining the techniques of the moving picture with those of X-ray photography.
Psychodrama v. 1 p. x Introduction to 3rd edition
Psicodrama Espanhol p. 95 não há
Psicodrama p. 34 Introdução à 3a edição

SULLIVAN
... I formulated my theory of interpersonal relations several years before Sullivan began to write on
the subject. ... Sullivan’s inventiveness was handicapped. He produced a theoretic skeleton but he
could not implement it with clinical operations of his own.
 Who Shall Survive? p. lx Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 pp. 62–63 Prelúdios

SURPLUS REALITY
It can well be said that the psychodrama provides the patient with a new and more extensive of
reality, a “surplus reality “, a gain which at least in part justifies the sacrifice he made by working
through a psychodramatic production.
Moreno, J. L. “Hypnodrama and Psychodrama”, in Group Psychotherapy, Beacon House,
nº1, v. iii, April 1950, p.4.
Psicoterapia de Grupo y Psicodrama p. 117
Psicoterapia de Grupo e Psicodrama p. 104

... It can well be said that the psychodrama provides the subject with a new and more extensive
experience of reality, a “surplus” reality, a gain which at least in part justifies the sacrifice he made
by working through a psychodramatic production.
Who Shall Survive? p. 85
Fundamentos de la Sociometria p. 78
Quem Sobreviverá? v. 1 p. 186

SURPRISE
... This may perhaps be so because, in the civilization of conserves which we have developed,
spontaneity is far less used and trained than, for instance, intelligence and memory. The sense for
spontaneity, as a cerebral function, shows a more rudimentary development than any other important,
fundamental function of the central nervous system. This may explain the astonishing inferiority of
men when confronted with surprise tactics.
The study of surprise tactics in the laboratory shows the flexibility or the rigidity of individuals
when faced with unexpected incidents. Taken by surprise, people act frightened or stunned. They
produce false responses or none at all. It seems that there is nothing for which human beings are more
illprepared and the human brain more ill-equipped than for surprise.
Theatre of Spontaneity p. 40
El Teatro de la Espontaneidad p. 75
Teatro da Espontaneidade p. 54

“The sense for spontaneity, as a cerebral function, shows a more rudimentary development than
any other important, fundamental function of the central nervous system. This may explain the
astonishing inferiority of men confronted with surprise tactics. ... Taken by surprise, people act
frightened or stunned. They produce false responses or none at all. It seems that there is nothing
for which human beings are more illprepared and the human brain more ill-equipped than for
surprise.
may be that some technical apparatus will be forthcoming in the form of a type of moving X-ray
pictures combining the techniques of the moving picture with those of X-ray photography.
Psychodrama v. 1 p. 47
 Psicodrama Espanhol p. 85
Psicodrama p. 97

... Particularly significant was the situation in which I placed him after my comments. He was taken
by surprise and so he was like a subject in a psychodramatic test. He had to counter spontaneously, he
had to improvise his comments without preparation.
Who Shall Survive? p. xlviii Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 2 p. 52 Prelúdios
T

TECHNIQUE (SEE PSYCHODRAMATIC TECHNIQUE)

TECHNOLOGY
In a technological era like ours, the fate and future of the spontaneity principle as a major pattern of
culture and living may depend on good fortune in tying it up with technological devices.
Psychodrama v. 1 p. 403
Psicomúsica y Sociodrama p. 222, Horme
Psicodrama p. 464

TECHNOLOGY/TECHNOLOGICAL DEVICES
Among the technological devices capable of expression, one can differentiate between two types:
the one which is designed specially to transmit cultural conserves and includes such items as the
book, the gramophone and the motion picture; and the other type which includes the “neutral” devices
of radio and television, which do not enforce the production of conserves, as do those of the first
type. By “neutral” we mean that they are sufficiently flexible to transmit both conserves and
spontaneous forms of expression. They are not at least to start with, mechanical barriers to the
presentation of spontaneity.
Psychodrama v. 1 p. 404
Psicomúsica y Sociodrama pp. 222-223, Horme
Psicodrama pp. 464-465

TELE
TELE/ARISTOTELE
Aristotle is defined as a feeling process in which numerous persons take part but which is
profoundly affected by an individual who is apparently in no position of special influence of
popularity. He is the true focus of influence.
Psychodrama v. 1 p. 243 (footnote)
Espanhol p. 327 (notas)
Psicodrama p. 300 (nota de rodapé)
... We know from previous work with sociometry about the existence of strictly aristo-telic
structures* in which a creative individual influences, through the media of several powerful leaders,
the total community.
Who Shall Survive? p. 25
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 135

... The form which the one tele going from the individual A to the individual B takes can be said to
be aristocratic, an aristotele. Such an aristo-tele has often turned the cultural and political history of a
people, as in the instance of Socrates and Plato, or Nietzsche and Wagner, or Marx and La Salle.
Who Shall Survive? p. 318
Fundamentos de la Sociometria p. 214
Quem Sobreviverá? v. 2 p. 183

TELE/AUTOTELE
As we have indicated, in the normal social atom an individual has, besides the tele relationships to
other persons, a tele relationship towards himself. Since, in the psychotic sociogram, the individual is
replaced by numerous roles, the relationship of the individual to himself is replaced by a relationship
of every role to itself. The original “auto-tele” is thus broken up into several units. Consequently, the
relationship between the individual and his social atom is replaced by a relationship between his
roles and the personae.
Moreno, J. L. “Psychodramatic Shock Therapy” in “Group Psychotherapy and
Psychodrama”, Beacon House, v. xxvii, nº 1-4, 1974, p. 16
Psicoterapia de Grupo y Psicodrama p. 360
Psicoterapia de Grupo e Psicodrama p. 342

A more thorough consideration of the position of the individual within his social atom suggests
considering him also in relationship to himself. … The gap between him as he is and acts and
between the picture he has of himself is growing. Finally it appears as if he had, besides his real ego,
an old side ego which he gradually extrojects. Between the ego and his extrojections a peculiar
feeling relationship develops with may be called “auto” – tele.
The shape of the extrojections can be amorphous or clear-cut and sharp. It may have a close
material resemblance to the real ego, or ie may be a variation of it in some degree. It may be
contrasting or even contrary.
Moreno, J. L. “Psychodramtic shock Therapy” in “Group Psychotherapy and Psychodrama”,
Beacon House, v. xxvii, n º 1-4, 1974, p. 4.
Psicoterapia de Grupo y Psicodrama p. 347
Psicoterapia de Grupo e Psicodrama p. 331

... Then I looked through the bibliographies and references of all the people who quoted them. The
following know sociometric symbols were used as references: quoting himself equals self attraction
or autotele; being quoted equals attraction or chosen by; quoting equals attracted to or choosing;
unquoted equals unchosen; unfavorable, critical reference or footnote equals rejection; discontinued
quotation and reference equals emphasized indifference; mutual quotation equals a dyadic relation or
a pair; a quoting clique is a number of individuals quoting each other or persistent in no quoting
certain other individuals.
Who Shall Survive? p. 26
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 136

F) The patient, as a part of his sickness, feels himself into delusionary and hallucinated events and
persons. This phenomenon has been called “autotele”. The alter ego has to follow the patient in this
difficult task.
Who Shall Survive? p. 320
Fundamentos de la Sociometria p. 216
Quem Sobreviverá? v. 2 p. 185

TELE/BEGINNINGS
a) Another problem arose in the case of several players sharing in a situation: when should one
player begin to speak his part, to move, to take the role, how long should he continue with it, and
when should he stop; and, in turn, the corresponding responses of the other players. It is obvious
that this kind of reasoning is largely theoretical. In the practice of spontaneity the beginning of
action of one or another player is determined by a certain presence of mind* - this is more than
what is usually called intuition.
Theatre of Spontaneity p. 64
El Teatro de la Espontaneidad p. 117
Teatro da Espontaneidade pp. 80-81

... There are players who are connected with one another by an invisible correspondence of
feelings, who have a sort of heightened sensitivity for their mutual inner processes. One gesture is
sufficient and often they do not have to look at one another, they are telepathic for one another. They
communicate through a new sense, as if by a “medial” understanding.
Theatre of Spontaneity p. 68
El Teatro de la Espontaneidad pp. 123-124
Teatro da Espontaneidade pp. 84-85

... Our chief hypothesis was, therefore, the existence of and the degree to which a hypothetical
factor, tele operates in the formation of groupings, from dyads and triangles to groups of any size.
Psychodrama v. 2 p. 10
Las Bases de la Psicoterapia p. 27
Fundamentos do Psicodrama p. 24

TELE/COGNITIVE VERSUS CONATIVE TELE

I frequently encountered in the sociograms individuals who receive a large number of choices but
whose own choices remain unreciprocated; as a consequence, they feel isolated and lonely. In the
analysis of such cases one finds that they operate in their choice-making with a high feeling of
affection for the individuals they are choosing, but with little awareness as to their feelings towards
him; they have also little awareness for the individuals who chose them but whom they do not choose.
It appears that at the time of making important choices their conative tele is high, their cognitive tele
is low. I submitted such individuals to role testing in sociodramatic sessions and discovered that their
perception of the social roles in which the individuals chosen by them performed, was weak, out of
proportion with the feeling of admiration and awe they had for these statuses and roles and for the
individuals embodying them. In other words, they disclosed a disturbance on the role level, a high
level of role enactment versus a low level of role perception; parallel to the conflict shown on the
interpersonal level, a high conative tele versus a low cognitive tele.
Who Shall Survive? p. 326
 Fundamentos de la Sociometria p. 218
Quem Sobreviverá? v. 2 p. 191

We have know for some time that tele has, besides a conative also a cognitive aspect and that both
enter into the choices and rejections made.
Who Shall Survive? p. 325
Fundamentos de la Sociometria p. 217
Quem Sobreviverá? v. 2 p. 190

TELE/DEFINITIONS
Tele is defined as a feeling process projected into space and time in which one, two, or more
persons may participate. It is an experience of some real factor in the other person and not a
subjective fiction. It is rather an inter-personal experience and not the affect of a single person. It is
the feeling basis of intuition and insight. It grows out of person-to-person and person-toobject
contacts from the birth level on and gradually develops the sense for inter-personal relationships. The
tele process is considered, therefore, the chief factor in determining the position of an individual in
the group.
Psychodrama v. 1 pp. 238-239 (footnote)
Psicodrama Espanhol pp. 322-323 (notas)
Psicodrama p. 295 (nota de rodapé)

... The interpersonal response is called tele.

Psychodrama v. 1 p. 81
Psicodrama Espanhol p. 126
Psicodrama p. 132

...“The socio-gravitational factor which operates between individuals, drawing them to form more
positive or negative pair-relations, triangles, quadrangles, polygons, etc., than on chance, I have
called ‘tele’ – derived from the Greek, the meaning is ‘far’ or ‘distant’.
Psychodrama v. 1 p. 84
Psicodrama Espanhol p. 130
Psicodrama p. 135

... Tele is two-way empathy, like a telephone it has two ends.* We are used to the notion that
feelings emerge within the individual organism and that they become attached more strongly or more
weakly to persons or things in the immediate environment.
... The hypothesis that feelings, emotions or ideas can “leave” or “enter” the organism appeared
inconsistent with this concept. ... If these feelings, emotions and ideas “leave” the organism, where
then can they reside?
Who Shall Survive? p. 53
Fundamentos de la Sociometria pp. 62-63
Quem Sobreviverá? v. 1 p. 159

... The tele phenomenon operates in all dimensions of communication and it is therefore an error
to reduce it to a mere reflection and correspondent of the communication process via language.
Who Shall Survive? p. 76
Fundamentos de la Sociometria p. 69
Quem Sobreviverá? v. 1 p. 178

TELE/DEVELOPMENT
On the social plane we have isolated the factor tele which is able to give the direction which the
expansion of the self takes. In order to understand the operations of the tele, it is useful to differentiate
between projection and what can be called “retrojection”. Projection is usually defined as “throwing
upon others persons one’s ideas and assuming that they are objective, although they have a subjective
origin.” Retrojection is drawing and receiving from other persons (it can be extended to all the
dimensions and subsidiaries) their ideas and feelings, either to find identity with one’s own
(confirmation) or to add strength to the self (expansion).
The organization of the self within the individual organism begins early in life. It is universal
phenomenon and observable in every individual. In certain individuals the power of retrojection is
enormously developed. We call them geniuses and heroes. If a man of genius knows what the people
or the time needs and wants he is able to do this by the retrojective power of the self, that is, by a tele
process, not by projection. They assimilate with enormous ease the experience others have, not only
by drawing it from the people but because others are eager to communicate their feelings to them.
They recognize these experiences as similar or identical with their own and integrate them into their
self; that is how they are able to swell it to enormous expansion. When they lose their mandate, the
calling of the self vanishes and the self shrinks.
Theatre of Spontaneity pp. 8-9
El Teatro de la Espontaneidad pp. 35-36
Teatro da Espontaneidade pp. 21-22

... In the earliest phase of the matrix of identity, nearness and distance are not yet differentiated by
the infant. But gradually the sense for nearness and distance develops and the infant begins to be
drawn towards persons and objects or to withdraw from them. This is the first social reflex –
indicating the emergence of the tele-factor, and is the nucleus of the later attraction-repulsion patterns
and specialized emotions – in other words, of the social forces surrounding the latter individual.
Psychodrama v. 1 p. 68
Psicodrama Espanhol p. 110
Psicodrama p. 119

TELE/GROUP TELE
In other words, there is tele already operating between the members of a group from the first
meeting. This weak, “primary” cohesiveness can be utilized by the therapist toward the development
and sharing of common therapeutic aims.
Psychodrama v. 1 p. xx
Psicodrama Espanhol p. não há
Psicodrama p. 46

... The trend towards constancy of choice and consistency of group pattern was also ascribed to
tele.
Psychodrama v. 2 p. 10
Las Bases de la Psicoterapia p. 25
Fundamentos do Psicodrama p. 25

TELE/INFRATELE
... In accord with this, therefore, I subdivided the area between the tele level and the pure chance
level into the infratele (farthest from chance), empathy and transference levels.*
Who Shall Survive? p. 326
Fundamentos de la Sociometria p. 218
Quem Sobreviverá? v. 2 p. 191

... She never failed to smile or to agree and he always felt comfortable whenever she showed her
approval of him. What we may call tele-love is enduring and mutual acceptance of such fundamental
experiences. Many tele cues are not conscious at the time of a first encounter, but an infra-tele may
grow and become a full tele.
Psychodrama v. 2 p. 85
Las Bases de la Psicoterapia p. 147
Fundamentos do Psicodrama p. 102

TELE/MUSICAL TELE
The musical position of one instrument corresponds to a number of other definite musical positions
which are interdependent; their totality makes a symphony. The interrelationship between two or
more musical positions can be called the musical tele.
Psychodrama v. 1 p. 288
Psicomúsica y Sociodrama pp. 30-31, Horme
Psicodrama p. 344

TELE/PSYCHOTHERAPY
The telic relationships between, therapist, auxiliary egos, and the significant dramatis personae
of the world which they portray are crucial for the therapeutic progress.
Psychodrama v. 1 p. xi Introduction to 3rd edition
Psicodrama Espanhol p. não há
Psicodrama p. 36 Introdução à 3a edição

A minimum of tele structure and resulting cohesiveness of interaction among the therapists and the
patients is an indispensable prerequisite for the ongoing therapeutic psychodrama to succeed.
Psychodrama v. 1 p. xviii Introduction to 3rd edition
Psicodrama Espanhol p. não há
Psicodrama p. 44 Introdução à 3a edição

... I observed that when a patient is attracted to a therapist, besides transference behavior, another
type of behavior is taking place in the patient. Let me repeat the words in which I formulated my
original observations in the paper on the subject*: “The one process is the development of fantasies
(unconscious) which he projects upon the psychiatrist, surrounding him with a certain glamour. At the
same time, another process takes place in him – that part of his ego which is not carried away by
auto-suggestion feels itself into the physician. It sizes up the man across the desk and estimates
intuitively what kind of man he is. These feelings into the actualities of this man, physical, mental or
otherwise are “tele” relations.
Psychodrama v. 2 pp. 5-6
Las Bases de la Psicoterapia pp. 19-20
Fundamentos do Psicodrama p. 20

... In other words, a process which had operated from the start, parallel to the charm produced by
transference, is now coming more strongly to the fore. He sees the patient now as she is. This other
process acting between two individuals has characteristics missing in transference. It is called “tele”,
feeling into one another. It is “Zweifühlung” in difference from “Einfühlung”. Like a telephone it has
two ends and facilitates two-way communication. It is know that many therapeutic relations between
physician and patient, after a phase of high enthusiasm from both sides, fade out and terminate, often
for some emotional reason. The reason is frequently a mutual disillusionment when the transference
charm is gone and the tele attraction is not sufficiently strong to promise permanent therapeutic
benefits. It can be said that the stability of a therapeutic relationship depends upon the strength of the
tele cohesion operating between the two participants.
Psychodrama v. 2 pp. 6-7
Las Bases de la Psicoterapia p. 21
Fundamentos do Psicodrama p. 21

TELE/RACIAL TELE
26. ... As age increases the differentiation of racial tele rises rapidly from the level of no
preference to the level of complete self preference.
Who Shall Survive? p. 703
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 193

TELE/ROOTS OF THE NAME

The innumerable varieties of attractions, repulsions and indifferences between individuals need a
common denominator. A feeling is directed from one individual towards another. It has to be carried
into distance. Just as we use the words teleperceptor, telencephalon, telephone, television, etc., to
express action at a distance, so to express the simplest unit of feeling transmitted from one
individual towards another we use the term tele, tele em letras gregas, como colocar? “distant”.
Who Shall Survive? pp. 313-314
Espanhol p. 211
Quem Sobreviverá? v. 2 p. 180

... Tele (from the Greek: far, influence into distance) is feeling of individuals into one another, the
cement which holds groups together. It is Zweifuhlung, in contrast to Einfuhlung. Like a telephone, it
has two ends and facilitates two-way communication.
 Psychodrama v. 1 p. xi Introduction to 3rd edition
Psicodrama (Espanhol) p. não há
Psicodrama p. 36 Introdução à 3a edição

TELE/SEXUAL TELE
26. Tele develops with the age of individuals and of groups; it is weak and undifferentiated in
young children. Differentiation takes many forms. As ages increases the differentiation of sexual tele
rises rapidly. As ages increases the differentiation of racial tele rises rapidly from the level of no
preference to the level of complete self preference.
Who Shall Survive? p. 703
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 193

TELE/SIXTY SENSE/HEIGHTENED SENSITIVITY

On the legitimate stage our five senses seem to suffice, in spontaneous interplay a sixth sense is
developed more and more for the partner’s feelings.
Gradually a trained ensemble can refrain from using all the techniques of communication which I
have described and rely on the medial factor which guides his mind to anticipate his partner’s ideas
and actions. There are players who are connected with one another by an invisible correspondence of
feelings, who have a sort of heightened sensitivity for their mutual inner processes.
Theatre of Spontaneity p. 68
El Teatro de la Espontaneidad p. 123
Teatro da Espontaneidade pp. 84-85

... In the Stegreif (spontaneity) experiment we could observer that some individuals have a certain
sensitivity for each other, as if they were chained together by a common soul. When they warm up to
a state, they “click”. It often was not the language symbol which stimulated them. When the analysis of
each individual apart from the other failed to give adequate clues for this “affinity” we could not
avoid considering the possibility of a “social” physiology – internal tensional maladjustments
which corresponding organs in different individuals bring into adjustment. At a certain point man
emancipated from the animal not only as a species but also as a society. And it is within this society
that the most important “social” organs of man develop. The degree of attraction and repulsion of one
person towards others suggests a point of view by means of which an interpretation of the evolution
of the social organs can be given. ... The attractions and repulsions, or the derivatives of these,
between individuals, can thus be comprehended as surviving reflections, as a distant, a “tele” effect
of a socio-physiological mechanism. ... It seems to us a valuable working hypothesis to assume that
back of all social and psychological interactions between individuals there must once have been
and still are two or more reciprocating physiological organs which interact with each other. ...
The attractions, repulsions and indifferences which we find, therefore, oscillating from one individual
to the other, however varying the underlying factors, as fear, anger, sympathy or complex collective
representations, it may be assumed, have a socio-physiological anchorage.
Who Shall Survive? pp. 312-313
Fundamentos de la Sociometria pp. 210-211
Quem Sobreviverá? v. 2 pp. 179-180
 It is more difficult to unravel the function of empathy in role playing and psychodramatic situations.
I have pointed out the need for a wider concept when I first began to systematize the experimental
approach to group formation in statu nascendi. ... “There are role players who are linked together by
a secret bond. They have a sort of sensitivity for each other’s reciprocal inner processes, a gesture
suffices and frequently they do not have to look at one another. They are clairvoyant for one another.
They have a special sense for communication, a medial understanding.”
Who Shall Survive? p. 318
Fundamentos de la Sociometria p. 215
Quem Sobreviverá? v. 2 p. 183

TELE/SOCIAL ATOM
Even if one day the feeling complex, tele, should yield to physical measurement, from a
sociometric point of view this feeling complex is separated only artificially from a larger whole: it is
a part of the smallest living unit of social matter we can comprehend, the social atom.
Who Shall Survive? p. 317
Fundamentos de la Sociometria p. 214
Quem Sobreviverá? v. 2 p. 182

... “Tele does not operate equally throughout the totality of an individual’s social atom, but consists
of an horizon in which awareness is great, level of choice expenditure high, and perception of inter-
relationships accurate; and an unstructured region, marked by tentative and token choices to which
reciprocation is hit-or-miss.
Who Shall Survive? p. 326
Fundamentos de la Sociometria pp. 217-218
Quem Sobreviverá? v. 2 pp. 190-191

TELE/SOCIOMETRIC SELF-RATING
... In the beginning they hardly differentiated between the plan, myself and the team of may co-
workers. In this dilemma I invented a sociometric technique devised to x-ray my own situation, a
technique which I later called “sociometric self-rating” and projection. It was based on the
assumption that every individual intuitively has some intimation of the position he holds in the group.
By empathy he comes to know approximately whether the flow of affection or antipathy for him is
rising or falling. I began to map out in my own mind, often two or three times a day, the sociograms of
the key groups upon whom the success or failure of the project depended. I began to sketch all the
situations in which my co-workers and I were involved at the time and in which role. Then I tried to
clarify how we felt towards each of these people. It was comparatively easy to state my own
preferences, choices or rejections, towards the key individuals in the community. It was more
difficult to “guess” what everyone of these people felt towards me and my plan and what reasons they
might have. More difficult, but of the greatest importance, was to guess how these people felt towards
each other. By a sort of highly trained empathy I succeeded in picturing my own sociograms; they
were a great aid in preventing and countering attacks before they became detrimental. This technique
was particularly important, as it trained my social intuition.
Who Shall Survive? p. 221
 Fundamentos de la Sociometria p. 159
Quem Sobreviverá? v. 2 pp. 98-99

TELE/SPONTANEITY VERSUS CREATIVITY

... I am, therefore, inclined to conclude that tele needs a catalyzer like spontaneity to be
mobilized. The relation of spontaneity to creativity has here a parallel, tele is “creatogenic”.
Who Shall Survive? p. 328
Espanhol p. 220
Quem Sobreviverá? v. 2 pp. 192–193

The tele factor is what is measured by sociometric tests. The s factor is what is measured by
spontaneity tests. The s factor encourages new combinations beyond what genes actually determine.
... The tele factor is found to operate in every social structure, but it is influenced by the s factor...
It is not expected from the hereditary units (genes) to determine the relations between organisms is
controlled by the tele factor.
Psychodrama v. 1 p. 51 (footnote)
Psicodrama (Espanhol) pp. 90-91 – (notas)
Psicodrama p. 102 (nota de rodapé)

TELE/TELE EFFECT
... On the inter-racial level, the attention which a man of the Jewish minority receives from a
German woman who happens to be the center of admiration of numerous German men may produce
within the psychological networks a “tele” effect, that is, a sociodynamic effect with consequences
far beyond the two persons and the immediate group of persons involved in the matter.
Who Shall Survive? pp. 562-563
Fundamentos de la Sociometria p. 381
Quem Sobreviverá? v. 3 p. 129

TELE/TELE FACTOR
... The tele factor must, in its earliest form, be undifferentiated, a matrix or identity tele; gradually,
a tele for objects separates itself from a tele for persons. A positive tele separates itself from a
negative tele, and a tele for real objects from a tele of imagined objects.
Psychodrama v. 1 p. 68
Psicodrama Espanhol p. 110
Psicodrama p. 119

TELE/TELE MATRIX/ACTION MATRIX

It is probable that the material tapped by sociometric and action perception tests can give us
important clues as to the development of delusions and hallucinations in the mental patient. The
messages and signals which the patient “sends out” and “receives” can draw their inspirations from
the tele and action matrices which have developed since early childhood.
Who Shall Survive? p. 328
Fundamentos de la Sociometria p. 219
Quem Sobreviverá? v. 2 p. 192
TELE/TELE VERSUS GENE
... Analogous to the biogenetic unit, the gene, the tele can be conceived as the sociogenetic unit,
facilitating the transmission of our social heritage.
Who Shall Survive? p. 328
Fundamentos de la Sociometria p. 220
Quem Sobreviverá? v. 2 p. 193

TELE/TRANSFERENCE/EMPATHY
Transference is the development of fantasies (unconscious) which the patient projects upon the
therapist, surrounding him with a certain glamour. But there is another process which takes place in
the patient, in the part of his ego which is not carried away by autosuggestion. It sizes up the therapist
and estimates intuitively what kind of a man he is. These feelings into the immediate behavior of the
therapist – physical, mental, or otherwise – are tele relations.
Psychodrama v. 1 p. xi Introduction to 3rd edition
Psicodrama Espanhol p. não há
Psicodrama pp. 35-36 Introdução à 3a edição

... Tele is a primary, transference a secondary structure. ... It is assumed that in the generic
development of the infant tele emerges prior to transference.
Psychodrama v. 1 p. xi Introduction to 3rd edition
Psicodrama Espanhol p. não há
Psicodrama p. 36 Introdução à 3a edição

... Neither transference nor empathy could explain in a satisfactory way the emergent cohesion of a
social configuration or the “double” experience in a psychodramatic situation. I hypothecated
therefore, that empathy and transference are parts of a more elementary and more inclusive process,
tele. ... I defined it as “An objective social process functioning with transference as a
psychopathological outgrowth and empathy as esthetic outgrowth”... ... I defined tele as the factor
responsible for the increased rate of interaction between members of a group, “for the increased
mutuality of choices surpassing chance possibility”.
Who Shall Survive? pp. 311-312
Fundamentos de la Sociometria p. 209
Quem Sobreviverá? v. 2 p. 178

Transference is defined as the psychopathological branch of tele, empathy (Einfuehlung) as its

emotional branch. Tele is a social concept, it operates on the social plane; transference and empathy
are psychological concepts, they operate on the individual plane.
Who Shall Survive? p. 316
Fundamentos de la Sociometria p. 213
Quem Sobreviverá? v. 2 p. 182

The form of transference arising in the psychoanalytic physician-patient situation is a by-product of

tele dynamics, its psycho-pathological outgrowth. Whereas tele structure guarantees the stability
and cohesion of the group, transference threatens it with dissociation.
Who Shall Survive? p. 567
Fundamentos de la Sociometria p. 386
Quem Sobreviverá? v. 3 p. 135

... We have seen from empathy tests that “Einfuehlung” and choice coming from one side only may
increase the understanding and the love of the one for the other but it does not necessarily lead to
therapeutic results; but if empathy runs both ways, from A to B as well as from B to A, then a
condition emerges which is superior to and inclusive of transference as well as to empathy, it is the
“tele” phenomenon.
Who Shall Survive? pp. 715-716
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 208

... 3. Tele is the constant frame of reference for “all” forms and methods of psychotherapy,
including not only professional methods of psychotherapy like psychoanalysis, psychodrama or
group psychotherapy, but also non-professional methods like faith healing, or methods which have
apparently no relation to psychotherapy, like Chinese thought reform.
Psychodrama v. 2 p. 234
Las Bases de la Psicoterapia p. 372
Fundamentos do Psicodrama p. 249

... I. Transference, like tele, has a cognitive as well as a conative aspect. It takes tele to choose the
right therapist and group partner, it takes transference to misjudge the therapist and to choose group
partners who produce unstable relationships in a given activity.
Psychodrama v. 2 p. 12
Las Bases de la Psicoterapia p. 29
Fundamentos do Psicodrama p. 26

Hypothesis I: “The tele relation can be considered the general interpersonal process of which
transference is a special psychopathological outgrowth”.
Psychodrama v. 2 p. 38
Las Bases de la Psicoterapia p. 71
Fundamentos do Psicodrama p. 53

TELEVISION (SEE ALSO MASS-MEDIA)

Television is a medium in which interpersonal action of the moment is the final desideratum.
A new opportunity for testing interpersonal productivity is given in television broadcasting, since
it can combine in a unique fashion spontaneity of human interaction with the flexibility of a technical
instrument well attuned to such an intent.
Psychodrama v. 1 p. 403
Psicomúsica y Sociodrama p. 222, Horme.
 Psicodrama p. 464

It is advisable to organize psychodramatic sessions to be broadcast from a television station to

the world. ... The director of the audience or one of his audio egos should appear as the mouthpiece
of plaintiff. As in a psychodramatic session, after each scene enacted on the stage a discussion with
the audience is interlude. From time to time an audio ego steps upon the stage, representing one or
another part of the audience in his interview with the director.
Psychodrama v. 1 p. 419
Psicomúsica y Sociodrama pp. 245-246, Horme.
Psicodrama p. 481

TELEVISION/ADVANTAGES
The perfectionism in motion picture production pays because a motion picture film is repeatable
and can be shown in many places at the same time or at different times. But television production is
not repeatable. It is instantaneous and extemporaneous – transitory – and that is its full meaning. As
soon as one tries to make it repeatable it becomes like a film and loses its central characteristic.
Psychodrama v. 1 p. 405
Psicomusica y Sociodrama, p. 224, Horme
Psicodrama p. 466

... indeed that the medium can thus become more vivid and rich in content than it otherwise would
be. In view of this aim, a series of studies have been set up by us showing the applicability of
spontaneity methods to the technological medium of television.
Psychodrama v.1 p. 405
Psicomusica y Sociodrama p. 225, Horme
Psicodrama p. 466

TELEVISION/DIRECTOR
The primary concern of the program director is the direction of the cameraman in the moving and
changing of their cameras so that the eye of the spectator is met by a pleasing and varied continuum of
camera angles.
Psychodrama v.1 p. 406
Psicomusica y Sociodrama p. 227, Horme
Psicodrama p. 467

TELEVISION/FUTURE
The aim of television research should be to assist in a gradual evolution from the present vague and
inarticulated broadcast conditions to conditions which bring the medium of television to its most
suitable spontaneous expression.
Psychodrama v.1 pp. 416-417
Psicomusica y Sociodrama p. 241, Horme
Psicodrama p. 478

TELEVISION/GRATITUDE
 The authors are extremely grateful to Mr. Adrian Murphy, Executive Director of Television of the
Columbia Broadcasting System, Inc., for the permission and the opportunity to be present at a number
of television broadcasts in the studios of the Columbia Broadcasting System.
Psychodrama v. 1 p. 406 (footnote)
Psicomusica y Sociodrama p. 226, Horme (notas)
Psicodrama p. 467 (nota de rodapé)

TELEVISION/LIMITATIONS
Thus, it cannot be assumed that the interpersonal situation produced in a psychodramatic laboratory
can automatically be introduced into a television laboratory. Several extenuating phenomena are
introduced by the technological devices of television: the interaction requirements of the personnel,
the integration of the technological personnel with the production personnel, and, finally, the problem
presented by the television audience. The latter’s sense of appreciation is conditioned by the highly
perfected film and radio conserves, or to the smooth production of a stage play. What they see in their
receiving sets will differ greatly in form, regularity and smoothness from what they have been used to
seeing heretofore. Their sense of appreciation will have to be trained along the lines of spontaneous
experience and production.
Psychodrama v. 1 pp. 415-416
Psicomusica y Sociodrama pp. 240-241, Horme
Psicodrama pp. 477-478

TELEVISION/RESEARCH
The range of television research must consider the following factors: (a) the director and his
associates, (b) the production, - technical and creative – and (c) the audience.
Psychodrama v. 1 p. 417
Psicomusica y Sociodrama p. 241, Horme
Psicodrama p. 478

TELEVISION/TECHNOLOGY/PSYCHODRAMA
The researches carried out in psychodramatic laboratories have prepared the ground for similar
studies which are modified by the admixture of technological devices.
Psychodrama v.1 p. 413
Psicomusica y Sociodrama p. 236, Horme
Psicodrama p. 474

TEST
TEST/ACQUAINTANCE TEST
The acquaintance test measures the volume of “social” expansion of an individual, the range of his
social contacts. ... Acquaintances in the larger sense of the word are all the people whom he knows
face to face or people whom he knows indirectly, for instance, via another individual or through
correspondence. As already pointed out, theoretically at least, the place for an acquaintance test is at
the very beginning of an investigation, even ahead of the sociometric test.
 Who Shall Survive? p. 287
Fundamentos de la Sociometria pp. 200-201
Quem Sobreviverá? v. 2 p. 156
A wider comprehension of the sociodynamic organization of an atom came through the
acquaintance test. The acquaintance volume of a person is the first, crude indicator of the
expansiveness of an individual in making and retaining contacts in a given community.
Who Shall Survive? p. 293
Fundamentos de la Sociometria p. 206
Quem Sobreviverá? v. 2 p. 161

The acquaintance test measures the volume of “social” expansion of an individual, the range of his
social contacts. ...Acquaintances in the larger sense of the word are all the people whom he knows
face to face or people whom he knows indirectly, for instance, via another individual or through
correspondence. As already pointed out, theoretically at least, the place for an acquaintance test is at
the very beginning of an investigation, even ahead of the sociometric test.
Who Shall Survive? p. 287
Fundamentos de la Sociometria pp. 200-201
Quem Sobreviverá? v. 2 p. 156

TEST/ACQUAINTANCE TEST/USES
Through the acquaintance test we learned if a social atom has a rhythmic growth, reaches a high
point, and then sinks to a more or less average level; if it is in a phase of expansion or of shrinkage; if
it spreads according to the geographical location of the individual’s cottage, from his cottage to the
next, within his work groups on to other collectives, or if it grows inconsistently with these and
erratically over the entire community; if it becomes stationary after few weeks; if it becomes
regressive after a considerable rise; and finally, with which groups of the community the individual
becomes acquainted and whom he can recall when the test is given.
Who Shall Survive? p. 294
Fundamentos de la Sociometria pp. 206-207
Quem Sobreviverá? v. 2 p. 162

TEST/ACTION PERCEPTION TEST

I have constructed, similar to the sociometric perception test, a psychodramatic perception test; it
may also be called an “action perception” test. In the first phase the subject is asked to outline a
series of crucial situations which he expects to experience in the course of a given time (the next
twenty-four hours, a week, etc.), a meeting with his wife, his employer, his child, etc. He is to
describe how he expects to act in these situations and how he expects these individuals to act towards
him. In the second phase he may be asked to act out the situations without auxiliary egos, that is,
acting all the parts himself, presenting the conflicts which may ensue and the solutions which are
offered by himself or by his coprotagonists. Whereas the sociometric perception test focusses on the
perception of feelings the psychodramatic perception test focusses on the perception of action and
interaction.
Who Shall Survive? p. 327 (footnote)
Fundamentos de la Sociometria p. 219 (notas)
 Quem Sobreviverá? v. 2 p. 192 (nota de rodapé)

TEST/QUOTATION TEST
... One sociometric procedure would be to investigate who is quoting whom, to look up their
written records, research papers, books, and so forth. ... The scientists may not know one another face
to face, they may know each other only by their recorded works. ... This test, although apparently cold
and impersonal, fulfills the basic requirements. It considers two-way relations, quoting and being
quoted, how often and by whom. ... The quoters and the quotees may be charted by means of
sociograms of the scientific societies to which they belong.
Who Shall Survive? pp. 99–100 Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 199–200 Prelúdios

TEST/ROLE/CONCEPT
... Just as the intelligence test measures the mental age of an individual, the role test can measure
his cultural age.
Psychodrama v. 1 p. 161-162
Psicodrama Espanhol p. 223
Psicodrama p. 215

1. The role test is based upon the premise that roles are the most important single factors which
determine the cultural character of individuals.
Psychodrama v. 1 p. 175
Psicodrama Espanhol p. 240
Psicodrama p. 229

The role test measures the role behavior of an individual; it reveals thereby the degree of
differentiation which a specific culture has attained within an individual, and his interpretation of this
culture.
Who Shall Survive? p. 89
Fundamentos de la Sociometria p. 81
Quem Sobreviverá? v. 1 p. 189

TEST/ROLE/METHOD (SEE IN ROLE/TETSING)

TEST/SOCIOMETRIC PERCEPTION TEST (SEE IN SOCIOMETRIC

TEST/SOCIOMETRIC SELF-RATING /SOCIOMETRIC PERCEPTION
TEST)

TEST/SOCIOMETRIC TEST/SOCIOMETRIC SELFRATING/

SOCIOMETRIC PERCEPTION TEST (see in sociometric
test/sociometric self-rating/sociometric perception test)
TEST/SOCIOMETRIC TEST/SUPPLEMENTARY TECHNIQUES
... When sociometry began to arouse public attention twenty years ago, the number of procedures
which were ready for application was few as compared with the number of social problems which
were to be faced in any community study. ... I recommended, therefore, that supplementary techniques
should be used around the true sociometric core, even if they did not fulfill the requirements of
genuine sociometric procedures. To the category of supplementary techniques belong, among others,
public opinion studies, studies of attitudes and socio-economic measurements.
Who Shall Survive? p. 110
Fundamentos de la Sociometria p. 100
Quem Sobreviverá? v. 1 p. 209

TEST/SOCIOMETRIC TEST/ADVANTAGES
The social investigation of any community, when based upon sociometric principles, is equipped
with two complementary frames of reference. The one is the objectified investigator so prepared
and evaluated that his own personality is no longer an unknown factor in the findings. The other
frame of reference consists of the members of the community who are brought to a high degree of
spontaneous participation in the investigation by means of sociometric methods, and therefore
contribute genuine and reliable data.
Who Shall Survive? p. 110
Fundamentos de la Sociometria p. 99
Quem Sobreviverá? v. 1 p. 208-209

The result of these small scale experiments has been twofold. On the one hand, they led to
important discoveries in the realm of human relations which were confirmed by every new study, and,
on the other hand, they made it possible to put together, like a jigsaw puzzle, the pieces of sociometric
structure which had been found in various communities and get, with the assistance of these miniature
patterns, a bird’s eye view of the sociometric foundation of society at large.
Who Shall Survive? p. 123
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 219-220

TEST/SOCIOMETRIC TEST/ATTRACTION AND REPULSION

... The sociometric test is an instrument which examines social structures through the measurement
of the attractions and repulsions which take place between the individuals within a group. In the area
of interpersonal relations we often use more narrow designations, as “choice” and “rejection”. The
more comprehensive terms, as attraction and repulsion go beyond the human group and indicate that
are analogous social configurations in nonhuman groups.
Who Shall Survive? p. 93
Fundamentos de la Sociometria p. 83
Quem Sobreviverá? v. 1 p. 194

TEST/SOCIOMETRIC TEST/CONCEPT
An instrument to measure the amount of organization shown by social groups is called sociometric
test. The sociometric test requires an individual to choose his associates for any group of which he is
or might become a member.
Who Shall Survive? p. 93
Fundamentos de la Sociometria p. 83
Quem Sobreviverá? v. 1 p. 193-194

... It consists in an individual choosing his associates for any group of which he is or might become
a member.
Who Shall Survive? p. 101
Fundamentos de la Sociometria p. 91
Quem Sobreviverá? v. 1 p. 201

A sociometric test is an examination of the structure of a specific group, at times for the purpose of
its reconstruction. It is not by itself an experiment.
... A sociometric study becomes an experiment a) if all its situations, its home, work, educational,
recreational, cultural and administrative groupings are created by the total community of citizens-
investigators, each citizen being an investigator and each investigator being a member of the
community.
... The closest to a complete, sociometric experiment was the Hudson community.
... Therefore, all in all, the sociometric experiment is still a project of the future.
Who Shall Survive? pp. 120-121
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 217-218

TEST/SOCIOMETRIC TEST/LIMITS

... The later procedure 12* is also far removed, however, from the sociometric approach which
would disclose to the investigator the key individuals in the group, the psycho-social networks
through which opinion moves, and whether the opinions which are collected represent the opinions of
the key individuals only or the opinions of the groups under their influence.
Who Shall Survive? p. 111
Fundamentos de la Sociometria p. 101
Quem Sobreviverá? v. 1 p. 210

TEST/SOCIOMETRIC TEST/MAIN SUBJECT

... It can be said that the sociometric test in its first phase (spontaneous choice) attempted to detect
these atoms. In its second phase, the motivational phase, it will begin to penetrate beneath their
surface, as it were, to crush the social atom.
Who Shall Survive? p. 230
Fundamentos de la Sociometria p. 167
Quem Sobreviverá? v.2 p. 106

Sociometric test (of a group) measures the conflict between the actual structure of a group which
the members maintain at the time when the test is given against the structure of the group as revealed
by their choices.
 Sociometric test (of an individual) measures the conflict between the actual position an individual
maintains within a group against the position revealed by his choices.
Who Shall Survive? p. 719
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 213

We were able to determine through the sociometric test with which individuals a person wants to
be in proximity and how many individuals want to be in proximity with him in respect to a given
criterion and thus the outer delineation of a particular social atom was ascertained.
Who Shall Survive? p. 293
Fundamentos de la Sociometria p. 206
Quem Sobreviverá? v. 2 p. 161

The classic sociometric test was so constructed that it was able to measure the conflict between
the existing configuration of a group and that configuration which is really wanted by the members of
the group.
Who Shall Survive? p. lxxi Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 72 Prelúdios

TEST/SOCIOMETRIC TEST/NEAR-SOCIOMETRIC SITUATIONS

... The inhabitants of the community have to become participants in the project in some degree. The
degree of participation is at its possible maximum when the decisions of the members are carried by
them to full realization. The degree of participation is at its possible minimum when the individuals
composing the group are willing only to answer questions about one another. Any study which tries to
disclose with less than maximum possible participation of the individuals in the group the feelings
which they have in regard to one another is near sociometric. ... In near-sociometric situations the
participants are not quite spontaneous. They do not warm up quickly.
Who Shall Survive? p. 102
Fundamentos de la Sociometria p. 92
Quem Sobreviverá? v. 1 p. 202

TEST/SOCIOMETRIC TEST/PHASES OF THE TEST

The test has been carried out in three phases: 1, spontaneous choice; 2, motivation of these choices;
and 3, causation of these choices. Spontaneous choice reveals how many members of his own group,
whatever the criterion of the group, are desired by an individual as associates in the activity of this
group. The motivations, as they are secured through interview of each individual, reveal further the
number of attractions and repulsions to which an individual is exposed in a group activity. The
underlying causations for these attractions and repulsions are studied through spontaneity and role
playing tests adapted to sociometric aims.
Who Shall Survive? p. 104
Fundamentos de la Sociometria p. 94
Quem Sobreviverá? v. 1 p. 201
 38. Students are warned not to think that being isolated or unchosen is a “bad” situation, or being
much chosen is in itself a “good” situation. Such thinking might lead to a “sociometric astrology”.
Sociometric findings are clues and guides for further investigation, they are not like the fixed position
of a peck order. There are voluntary isolates whose air of determined withdrawal may instantly kill
the tele towards them in the mind of their partners. They do not choose and they tell you by their
manner or even overtly: “Do not choose me, I prefer to be alone”. Furthermore, do not assume that the
total structure of a group is “good” or “bad” because its cohesion is high of low. It often depends
upon the criterion around which the group is formed.
... The study of involuntary isolates or unchosen ones who make choices but whose choices
persistently remain unreciprocated suggests that they suffer from states of anxiety and insecurity.
They frequently do not have the spontaneity to respond adequately to a situation in which they find
themselves unwanted. Their anxiety rises and when they try again and again unsuccessfully, their
anxiety rises further; their tele perception is often not sensitive to differentiate clearly the individuals
who choose them from those who do not.
Who Shall Survive? p. 712
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 pp. 203-204

TEST/SOCIOMETRIC TEST/REQUISITIONS
The theory of sociometric testing requires: a) that the participants in the situation are drawn to one
another by one or more criteria, b) that a criterion is selected to which the participants are bound to
respond, at the moment of the test, with a high degree of spontaneity, c) that the subjects are
adequately motivated so that their responses may be sincere, d) that the criterion selected for testing
is strong, enduring and definite, and hot weak, transitory and indefinite.
Who Shall Survive? p. 99
Fundamentos de la Sociometria p. 89
Quem Sobreviverá? v. 1 p. 199

... But it is necessary that the subjects themselves be taken into partnership, that they become
sufficiently interested in the test, that they transfer to the tester their spontaneous attitudes, thoughts,
and motivations in respect to the individuals concerned in the same criterion. ... If, therefore, the
inhabitants of a community are asked whom they like or dislike in their community irrespective of any
criterion this should be called near-sociometric.
Who Shall Survive? p. 106
Fundamentos de la Sociometria p. 96
Quem Sobreviverá? v. 1 pp. 205-206

TEST/SOCIOMETRIC TEST/RESISTANCE
... Sociometric procedures should be greeted favorably as they aid in bringing to recognition and
into realization the basic structure of a group. But such is not always the case. They are met with
resistance by and even with hostility by others. ... This psychological status of individuals may be
called their degree of sociometric consciousness. The resistance against sociometric procedures is
often due to psychological and educational limitations.
Who Shall Survive? p. 94
 Fundamentos de la Sociometria p. 84
Quem Sobreviverá? v. 1 pp. 194-195

The first difficult which one ordinarily meets is ignorance of what sociometric procedure is. A full
and lucid presentation, first perhaps to small and intimate groups, and then in a town meeting if
necessary, is extremely helpful. ... Another reaction is one of fear and resistance, not so much against
the procedure as against its consequences for them.
... The resistance seems at first sight paradoxical as it crops up in face an actual opportunity to
have a fundamental need satisfied. An explanation of this resistance of the individual versus the group
is possible. It is, on the one hand, the individual’s fear of knowing what position he has in the group.
To become and to be made fully conscious of one’s position may be painful and unpleasant. Another
source of this resistance is the fear that it may become manifest to others whom one likes and whom
one dislikes, and what position in the group one actually wants and needs. The resistance is produced
by the extra-personal situation of an individual, by the position he has in the group. He feels that the
position he has in the group is not the result of his individual make-up only but chiefly the result of
how the individuals with whom he is associated feel towards him. He may even feel dimly that there
are beyond his social atom invisible tele-structures which influence his position. The fear against
expressing the preferential feelings which one person has for others is actually a fear of the feelings
which the others have for him.
Who Shall Survive? pp. 94-95
Fundamentos de la Sociometria pp. 84-85
Quem Sobreviverá? v. 1 p. 195

TEST/SOCIOMETRIC TEST/SOCIOMETRIC CONSCIOUSNESS

... This psychological status of individuals may be called their degree of sociometric
consciousness.
Who Shall Survive? p. 94
Fundamentos de la Sociometria p. 84
Quem Sobreviverá? v. 1 p. 195

... As long as a population has a low sociometric consciousness distinctions between

psychological and social properties of populations have no value. Indeed, from the point of view of
action methods over-emphasis upon logical purity of definitions may be outright harmful and over-
developed logical systems may produce a false sense of security and of scientific wellbeing which
discourages and delays action practice.
Who Shall Survive? p. 112
Fundamentos de la Sociometria pp. 101-102
Quem Sobreviverá? v. 1 p. 210

TEST/SOCIOMETRIC TEST/SOCIOMETRIC SCORE

Sociometric score: the number of different person who have chosen an individual on all criteria
used.
Who Shall Survive? p. 720
Fundamentos de la Sociometria p. não há
 Quem Sobreviverá? v. 3 p. 214

TEST/SOCIOMETRIC SELFRATING/SOCIOMETRIC PERCEPTION

I described a version of the sociometric test* which was called “sociometric selfrating”, but which
may better be called a “sociometric perception test”. The individual goes through several steps.
First step: the individual “sketches out all the situations in which he is involved at the time and fills
in all the individuals who take a part in them and in which role”.
Second step: “he tries to clarify for himself how he feels towards each of these people. He
pretends that he is taking part in a sociometric test and chooses or rejects them according to
preference and rank, giving his reasons.”
Third step: “he makes a guess what every one of these people feels towards him and what reasons
they might have”.
Fourth step: “he guesses how these individuals may be related to each other”.
Fifth step: “after he has finished his own selfrating he may ask another person familiar with his
situation to rate him independently”.
Sixth step: “the validity and reliability of data from sociometric selfrating can be determined by
giving to a group of individuals an open sociometric test immediately after they have rated
themselves. Thus, the individual’s intuition of his sociometric status can be compared with the
objective facts of others’ expression towards him, e. g., his actual sociometric status”.
Who Shall Survive? p. 325
Fundamentos de la Sociometria p. 217
Quem Sobreviverá? v. 2 p. 190

When I introduced the selfrating test I calculated that if the perceptual intuition of such individuals
could be awakened and trained, their choices would be more adequate and their sociometric status
would improve.
Who Shall Survive? p. 326
Fundamentos de la Sociometria p. 218
Quem Sobreviverá? v. 2 p. 191

TEST/SOCIOMETRIC TEST/SUB-GROUPS
Sociometric cleavage: two groups of individuals in which self preference – that is preference for
members of own group – rules out other-preference, that is, preference for members of out-groups. It
is the dynamic reason for the tendency of a group to break up into subgroups.
Who Shall Survive? p. 721
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 216

TEST/SPONTANEITY (see in spontaneity/test)

TEST/SPONTANEITY/AUDIENCE (see in spontaneity /test/audience)

TEST/SPONTANEITY/PROCEDURE (see in spontaneity /test/procedure)

TEST/TEST OF EMOTIONAL EXPANSIVENESS (see in emotional
expansiveness/testing)

THEATRE OF SPONTANEITY
THEATRE OF SPONTANEITY/AIMS
... The theatre for spontaneity, being freed from the clichés of form and content, can organize its
repertory in agreement with the audience which it faces. The theatre will again be able to stir men up
to heroic deeds.
Theatre of Spontaneity p. 77
Espanhol pp. 137-138
Teatro da Espontaneidade pp. 93-94

The Stegreiftheater itself had one objective: to let the collective of spontaneous-creative actors
emerge in the midst of the group, but, instead of in a religious climate, in the climate of a scientific
age.
My Stegreiftheater book had three aims: 1) To define spontaneity, especially in its relation to
creativity, 2) to explore the possibilities of interpersonal measurement, and 3) to experiment with the
spontaneous interaction of small groups. As I had no precedent in this I had to introduce many new
terms which made the book difficult reading. ... Sociometric measurement started with things like this:
how much “time” does an actor A spend with another actor B? He may spend half as much time with
another actor C and three times as much time with another actor D. ... in the course of the same
situation and what effect have nearness or distance upon behavior and acting?
Who Shall Survive? p. xxxiv–xxxv Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 40 Prelúdios

THEATRE OF SPONTANEITY/ARTISTS, PSYCHOLOGISTS AND

ANALYSTS THAT BELONG TO THE STEGREIFTHEATER
... Among the actors who were on the staff of the Stregreiftheater were: Peter Lorre, Anna
Hoellering, Robert Grunwald, to name but a few. Many playwrights came to the Stregreiftheater and
tried to develop a drama in spontaneous fashion, a drama not yet written by them. Among them were
George Kaiser and Franz Werfel. The Stregreiftheater idea came to the attention of many
psychologists and analysts, among whom were Arthur Schnitzler, Alfred Adler, Theodore Risk,
Siegfried Bernfeld, August Eichhorn.
Theatre of Spontaneity p. 100
El Teatro de la Espontaneidad p. 167
Teatro da Espontaneidade p. 118

THEATRE OF SPONTANEITY/AUDIENCE THEATRE

The audience theatre is a community theatre. It is the community from which the dramas spring and
the actors producing them, and again it is not any community, a community in abstract, but our village
and neighborhood, the house in which we live.
Theatre of Spontaneity p. 28
 El Teatro de la Espontaneidad p. 60
Teatro da Espontaneidade p. 41

THEATRE OF SPONTANEITY/CONCEPT
The spontaneity theatre is a vehicle organized for the presentation of drama of the moment. The
dramatist is in the key-role. He is not merely a writer – in fact he does not actually write anything –
but is an active agent, confronting the players with an idea which may have been growing in his mind
for some time, and warming them up to immediate production. The role of the dramatists is often
taken by one of the actors, who then becomes dramatist and leading actor at the same time.
Theatre of Spontaneity p. 38
El Teatro de la Espontaneidad pp. 71-72
Teatro da Espontaneidade p. 52

... It can be said that compared to the legitimate theatre, as the theatres of the nobility in the middle
ages and the theatre of the intellectual classes in our time, the theatre for spontaneity can be
considered the theatre of the people.
Theatre of Spontaneity p. 81
El Teatro de la Espontaneidad p. 145
Teatro da Espontaneidade p. 98

The legitimate theatre is a theatre as if – out of locus. The true locus of the theatre is the theatre for
spontaneity.
Psychodrama v. 1 p. 26
Psicodrama Espanhol p. 55
Psicodrama p. 75

THEATRE OF SPONTANEITY/FUNCTIONS OF
One function of the theatre for spontaneity is to take under its wing those abortive art works. It is
the sanctuary of the unwanted child, but so to speak, only of those children who do not want to live
more than once. It offers no immortality; rather does it offer love of death.
Theatre of Spontaneity p. 46
El Teatro de la Espontaneidad p. 86
Teatro da Espontaneidade p. 61

... I organized, therefore, a laboratory of spontaneity research. ... I discovered soon after that the
less fictitious these interactions were for the actors, the more personally and privately they were
involved in these roles and interactions, the more meaningful also became the counting of seconds,
inches, words and choices. ... Interaction researches who do not start with an account of the
spontaneous-creative implications upon their experimental designs are like architects who make one
believe that a house can be built without a foundation.
Who Shall Survive? p. xxxvi Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 41 Prelúdios
 ... The outstanding characteristics of these sessions were: 1) they were open, that is, problems
which the audience members raised were presented on the stage before them, personal and social
conflicts which heretofore were hidden in a consultation office were brought out into the open; and 2)
spontaneous participation of the audience.
Who Shall Survive? p. xlii Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 47 Prelúdios

THEATRE OF SPONTANEITY/IMPROMPTU THEATRE

The matrix of the Impromptu Theatre is the soul of the author. Let us surrender ourselves to the
illusion that the figures of the drama there in process of production have become visible, audible and
tangible. In this ideal performance all conditions are met: the act of creation is contemporaneous with
the production; there is harmony of situation and word.
Theatre of Spontaneity p. 47
El Teatro de la Espontaneidad p. 88
Teatro da Espontaneidade p. 62

... One figure of the personae dramatis after the other arises in the soul of the author and speaks. If
we imagine the author as apart from the types that came forth from him, the following process may be
observed. Each of these personae dramatis is his own creator, and the poet is he who combines the
into an unfield whole. There you have the primary concept of the Impromptu performance. The author
must be looked upon as a strategist and each of his personae dramatis as an Impromptu actor.
Theatre of Spontaneity p. 48
El Teatro de la Espontaneidad p. 89
Teatro da Espontaneidade p. 63

THEATRE OF SPONTANEITY/METATHEATER
... In the theatre for spontaneity the whole community is present. It is the theatre of the community. It
is a new kind of institution, the institution which celebrates creativity. It is the place where life is
tested, the strong and the weak, - by play. It is the place or truth without might.
... It is the theatre of all, the twilight of being and reality...
... it is not the theatre of one man; it is the theatre of all and for all. In the theatre all men are stirred
up and they move from the state of consciousness to a state of spontaneity, from the world of actual
deed, actual thoughts and feelings, into a world of fantasy which includes the reality potential.
Theatre of Spontaneity p. 31
El Teatro de la Espontaneidad p. 62
Teatro da Espontaneidade pp. 45-46

THEATRE OF SPONTANEITY/PREMISES
... Its premise was that there should be exclusively productions of a hundred percent spontaneity,
that is, there should be no rehearsal whatsoever, that the actors should not be prepared for each other
and that their spontaneous actions and productions should be an end in themselves, by no means
material for a finished product, later to be memorized or conserved like a written play. ... It was
logical that I should look for some natural principles which are intrinsic in the spontaneous
interactions between actors.
Who Shall Survive? p. xxxvi Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 41 Prelúdios

THEATRE OF SPONTANEITY/PROBLEMS WITH THE AUDIENCE

… of “one hundred percent” spontaneity however, faced enormous difficulties first of all from the
audiences. They had been brought up in all departments of living, the sciences and the arts, to use and
rely upon cultural conserves and not to trust their own spontaneity.
... Therefore, when true spontaneity was presented to them in the Stegreiftheater either they
suspected it to be well rehearsed and an attempt to fool them, or, if a scene was poorly played they
considered that as sign that spontaneity does not work. I saw the enormous task ahead of changing the
attitude of the public. This would require a total revolution of our culture, a creative revolution. The
climax of the difficulty I encountered however, when I saw my best pupils flirting with the cliché
even when acting extemporaneously and finally turning away from the theatre of spontaneity and going
to the legitimate stage or becoming movie actors. Faced with this dilemma I turned “temporarily”
to the therapeutic theatre, a strategic decision which probably saved the psychodramatic
movement from oblivion.
Theatre of Spontaneity p. 7
El Teatro de la Espontaneidad p. 32
Teatro da Espontaneidade pp. 19-20

THEATRE OF SPONTANEITY/THE LEGITIMATE THEATRE

The inner structure of the theatre is easily recognizable if one considers the nascence of any
specific dramatic production. In the rigid, “dogmatic” theatre, the creative product is given: it
appears in its final, irrevocable form. The dramatist is no longer present for his work is entirely
divorced from him.
... In consequence, the actors have had to give up their initiative and their spontaneity. In this sense,
the drama is a thing of the past, a vanquished reality.
... Reformers of the theatre, bewildered by the decline of its art and the decay of its public appeal,
have not been able to uncover the seat of its disease because they have failed to see that the pathology
of our theatre is part of a larger process of disintegration, the pathology of our culture as a whole of
which the most characteristic symptom is the “cultural conserve”.
Theatre of Spontaneity pp. 18-19
El Teatro de La Espontaneidad pp. 47-48
Teatro da Espontaneidade pp. 30-31

The strict separation between the stage and audience is the marked characteristic of the legitimate
theatre. This is exemplified by the dual form as well as by the relationship between stage production
and spectators.
Theatre of Spontaneity p. 31
El Teatro de La Espontaneidad p. 61
Teatro da Espontaneidade p. 45
 The legitimate theatre belongs to the world of appearances; the “thing in itself,” (Ding an sich), the
spontaneous creative process in statu nascendi, is suppressed.
Theatre of Spontaneity p. 37
El Teatro de La Espontaneidad p. 70
Teatro da Espontaneidade p. 51

THEATRE OF SPONTANEITY/THEATRE OF CONFLICT

The theatre of conflict is therefore a theatre consisting of two theatres. It results from the clash
between the theatre on the stage and the audience theatre. It has two positively acting poles, the
theatre which attempts to establish a dramatic art based on the principle of the past, and a theatre
based on the principle of the moment. The theatre on the stage is a theatre of the past; the theatre of the
audience is the theatre of spontaneity.
... Theatre one and theatre two brought to expression, produce a new, a third theatre, the theatre of
conflict. The drama emerges from the clash between them, their reciprocal conflict.
Theatre of Spontaneity p. 23
El Teatro de la Espontaneidad pp. 51-52
Teatro da Espontaneidade p. 35

THEOMETRY
By means of geometry of spaces the locus of geometric configurations is determine. By means of a
theometry of spaces the locus nascendi of ideas and objects is determined.
Psychodrama v. 1 p. 25
Psicodrama Espanhol p. 54
Psicodrama p. 74

THEORY
THEORY/PSYCHODRAMA
... The theoretical principle of psychodrama is that the director acts directly upon the level of the
subject’s spontaneity – obviously it makes little difference to the operation whether one calls the
subject’s spontaneity his “unconscious” – that the subject enters actually the areas of objects and
persons, however confused and fragmented, to which his spontaneous energy is related. ... According
to psychodramatic theory a considerable part of the psyche is not language-ridden, it is not infiltrated
by the ordinary, significant language symbols. Therefore, bodily contact with subjects, if it can be
established, touch caress, embrace, hand shake, sharing in silent activities, eating, walking or other
activities, are an important preliminary to psychodramatic work itself.
Who Shall Survive? pp. 86-87
Fundamentos de la Sociometria pp. 79-80
Quem Sobreviverá? v. 1 p. 187

THEORY/THEORY OF INTERPERSONAL RELATIONS

… It is then when I coined what is perhaps the simplest definition of interpersonal relations: ... ...
“A meeting of two: eye to eye, face to face. And when you are near I will tear your eyes out and place
them instead of mine, and you will tear my eyes out and will place them instead of yours, then I will
look at you with your eyes and you will look at me with mine.
... The theory of interpersonal relations is born of religion.
Who Shall Survive? p. xxxi Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 37 Prelúdios

THEORY/THEORY OF SPONTANEOUS LEARNING

As the training of spontaneity states and not the learning of contents is the objective, the attempt is
made to loosen the fixed associations between states and contents as they have become established in
the course of education by traditional method. Emphasis upon contents results in the split of the
individual into an act personality and a content personality. We found it a valuable hypothesis to
assume that two different memory centers develop, an act center which exist in general as separate
structures without connection. A content is received in a dull, untoned state, an act in a highly heated
state; our hypothesis is that they trace different paths in the nervous system. They are not received at
the same moment. In consequence they do not recur simultaneously, filling one moment, uniting the
entire personality with one action, but at different times, separated from each other. The material
learned does not reach the actcenter of personality. ... An individual may begin any specific activity
with improvisation. But the more often improvisations around that complex are produced, the more
the tendency develops in the individual to pick out from past efforts the best actions, gestures,
thoughts and phrases, in other words, to improvise less and less and to develop more and more a safe
and organized anchorage. ... Spontaneous production was merely a starting form of the process which
in the end turned into a finished product, a content which later became sacred through repetition.
Who Shall Survive? p. 538
Fundamentos de la Sociometria p. 360
Quem Sobreviverá? v. 3 pp.102-103

THERAPEUTIC AGENT
... The therapeutic agent in group psychotherapy does not have to be an individual who has
professional status, a physician, priest or a counselor. Indeed, the one who has professional status
may be, for that very reason, harmful to a particular individual needing attention. If he is a wise
therapist he will eliminate himself from direct face to face rapport with the patient and work through
other individuals who are in a better position to help than himself. According to group method the
therapeutic agent for a particular member of the group may be anyone or a combination of several
individuals.
Psychodrama v. 2 p. 9
Psicodrama Espanhol pp. 25-26
Fundamentos do Psicodrama p. 24

THERAPEUTIC THEATER
THERAPEUTIC THEATER/CONCEPT
... The newspaper method was a formal step forward but it lacked the deeper meaning of charisma.
Later I discovered a happier solution in the “therapeutic theatre”. One hundred percent spontaneity
was more easily achieved in a therapeutic theatre it was difficult to forgive esthetic and
psychological imperfections in a normal actor. But it was easier to tolerate imperfections and
irregularities of an abnormal person, a patient. ... The theatre of spontaneity developed an
intermediary form of the theatre, the theatre of catharsis, the psychodrama. “It is noteworthy that the
psychodrama has nothing to do with ‘Happening’13 although it may; in its vulgarized form, be
confused with it, as for instance, with a psychomusical spectacle which was arranged by art students
in Anthony’s University Residence in 1959 and which later was considered a happening. In
opposition to its anarchic amorphous theatricality, which in the happening is played up to a
fashionable craze, the aim of psychodrama is a genuine organization of form, a creative
selfrealization in the act, on a structuring of space, a realization of human relationships within the
scenic action. In the happening individuals behave in a self-idolizing, self-sufficient manner; as no
form is brought about, also genuine participation of the group of invited spectators is not possible;
everyone is relegated to himself, dependent only on his completely narcissistic behavior. Yes, one
may say that unrelatedness is the salient feature of ‘Happenings’, whereas the theme of psychodrama
is precisely the relationship of the individual to the group and to society.
Theatre of Spontaneity p. b
El Teatro de la Espontaneidad pp. 14-15
Teatro da Espontaneidade p. 10

... “The therapeutic theatre is the private home. The players of the therapeutic theatre are the
occupants of the house”.
Psychodrama v. 2 pp. 137-138
Las Bases de la Psicoterapia pp. 227-228
Fundamentos do Psicodrama p. 154

... The climax of the difficulty I encountered however, when I saw my best pupils flirting with the
cliché even when acting extemporaneously and finally turning away from the theatre of spontaneity
and going to the legitimate stage or becoming movie actors. Faced with this dilemma I turned
“temporarily” to the therapeutic theatre, a strategic decision which probably saved the
psychodramatic movement from oblivion.
Theatre of Spontaneity p. 7
El Teatro de la Espontaneidad p. 32
Teatro da Espontaneidade pp. 19-20

THERAPEUTIC THEATRE/THEATRE OF SPONTANEITY

The therapeutic theatre uses the vehicle of the spontaneity theatre for therapeutic ends. The key
person is the mental patient. The fictitious character of the dramatist’s world is replaced by the actual
structure of the patient’s world, real or imaginary.
Theatre of Spontaneity p. 38
El Teatro de la Espontaneidad p. 73
Teatro da Espontaneidade p. 53

THEATRE/THERAPY
 Theatre and therapy are closely interwoven. But also there are many steps. There will be a theatre
which is purely therapeutic, there will be a theatre which is free from therapeutic objective and then
there will be also many intermediary forms.
Theatre of Spontaneity p. f
El Teatro de la Espontaneidad p. 21
Teatro da Espontaneidade p. 14

THERAPIST/PSYCHODRAMA
The therapist in turn is not the quiet, passive listener in psychoanalysis, he himself must put up a
good battle in order to get the patient to produce. The transference therefore begins at times from his
side and is overwhelming in character like that of a man who is in love with a woman and takes the
initiative. Therapist and patient warm-up to each other, it is a battle of wits. The therapist wants
something from the patient right away, but he refuses to give.
Moreno, J. L. “Hypnodrama and Psychodrama” in “Group Psychotherapy”, Beacon House,
number 1, April 1950, p. 3.
Psicoterapia de Grupo y Psicodrama pp. 115-116
Psicoterapia de Grupo e Psicodrama p. 103

... In psychotherapy it is extremely difficult if not possible to separate the skill from the personality
of the therapist. Skill and personality are, at least in the act of performance, inseparably one: “the
personality of the therapist is the skill”. But on the other hand, we must guard ourselves against
laissez faire and extreme subjectivism. Therapeutic technologies and formats develop as structured
expressions of experience and skill. They represent the irrepressible craving of patient and therapist
for orderly procedure.
Psychodrama v. 2 p. 236
Las Bases de la Psicoterapia p. 374
Fundamentos do Psicodrama p. 251

... These were the new postulates: a) the group comes first and the therapist is subordinate to it; b)
the therapist, before the emerges as the therapeutic leader is just another member of the group; c) “one
man is the therapeutic agent of the other and one group is the therapeutic agent of the other”. *
* J. L. Moreno, “Application of the Group Method to Classification”, 1932, p. 104.
Psychodrama v. 2 pp. 9-10
Las Bases de la Psicoterapia p. 26
Fundamentos do Psicodrama p. 24

THERAPIST/PSYCHODRAMA/INVOLVEMENT
The problem of “uncontrolled” involvement of the chief therapist is also one confronted frequently
in psychodramatic work. We have had directors who not satisfied with “passing the buck” so to speak
to auxiliary egos, are often displeased with the intensity of the ongoing process and step into the
situation themselves, doubling, reversing, mirroring, soliloquizing, etc. But it rarely happens that the
chief therapist will push the auxiliary ego out of the scene and assume the entire role for himself. The
general rule is that the chief therapist is the conductor and does not assume the role of an auxiliary
ego, unless required by an emergency.
Psychodrama v. 2 p. 233
Las Bases de la Psicoterapia pp. 369-370
Fundamentos do Psicodrama pp. 247-248

THERAPY
THERAPY/AT A DISTANCE
a. Treatment at a distance. The case of a young girl who suffered from a violent acting out disorder
was reported. It became apparent that the psychotherapist should be eliminated as a contact person,
and a young girl was employed to live in the patient’s home to help her. The hired girl becomes the
substitute, the double, who come to the psychotherapist at regular intervals with the parents of the
patient, so that the patient could be treated “in absentia”.
Moreno, J. L. “The Actual Trends in Group Psychotherapy”, in “Group Psychotherapy”, v.
vi, September 1963, nº3, p. 126. (n)
Psicoterapia de Grupo y Psicodrama p. 141 (similar)
Psicoterapia de Grupo e Psicodrama p. 125 (similar)

THERAPY/INTERPERSONAL
... When conflicts develop between the members of such ensembles, forms of treatment are
necessary which are able to reach the interpersonal syndromes as deeply, if not more so, than if it
would a single person. “Interpersonal therapy” represents a special category; it might well be
classified apart from individual and group psychotherapy.
Psychodrama v. 2 p. 45
Las Bases de la Psicoterapia p. 85
Fundamentos do Psicodrama p. 60

THERAPY/INTERPERSONAL/MORENO
... In order to talk cogently about treatment of interpersonal relations there must be two patients
present, and a third, the therapist who may be able then more genuinely to remain uninvolved, a
participant observer and an interpreter to both parties (Fig. 1), or, as I have pointed out in my first
lecture – the therapist must himself become a participant actor, although not formally,
“psychologically” a patient. Then there are two patients, not one, they can give therapy to each other,
each in accord with his ability and his needs.
Psychodrama v. 2 pp. 55-56
Las Bases de la Psicoterapia pp. 98-99
Fundamentos do Psicodrama pp. 69-70

THERAPY/INTERPERSONAL/SULLIVAN
... When Sullivan talks about interpersonal relations one of the two is the therapist, a participant
observer. There is only one patient, facing a professional therapeutic agent.
 Psychodrama v. 2 p. 54
Las Bases de la Psicoterapia p. 98
Fundamentos do Psicodrama p. 68

TOTALITY OF HUMAN SOCIETY

A social atom is thus composed of numerous tele structures; social atoms are again parts of still a
larger pattern, the sociometric networks which bind or separate large groups of individuals due to
their tele relationships. Sociometric networks are parts of a still larger unit, the sociometric
geography of a community. A community is again part of the largest configuration, the sociometric
totality of human society itself.
Who Shall Survive? p. 54
Fundamentos de la Sociometria p. 64
Quem Sobreviverá? v. 1 p. 160

TOYS
TOYS/DOLLS
... Our homes and nursery schools should replace many of their doll equipments by auxiliary egos,
real individuals, who take the ‘part’ of dolls.
Psychodrama v. 1 p. 71
Psicodrama Espanhol p. 114
Psicodrama p. 123

The problem of a curriculum for play schools has to reconsider three elements. First: The age old
habit of surrounding the child with finished playthings or with play material for the making of toys
encourages in the child the conception of a mechanical universe of which he is the only uninhibited
ruler; the cruelty and the lack of sympathy that children often display towards living beings is due to
prolonged occupation with inanimate objects. Second: The curriculum must be partly enlarged by the
addition of all subjects which are offered to the public school and the high school student, only these
are to be presented and experienced on a correspondingly lower level. Third: Techniques of teaching
these subjects in accordance with spontaneity principles have to be invented.
Psychodrama v. 1 p. 146
Psicodrama Espanhol p. 202
Psicodrama p. 199

... The doll, because of its intentional semblance to human beings or humanized animals, represents
in ‘our culture’ at least, a significant function of its sociopathology. Beings who can be loved and
hated in excess, and who cannot love or fight back, who can be destroyed without murmur, in other
words dolls are like individuals who have lost all their spontaneity. ... We do not wish to warn
against their discrete use. Their reckless application cannot be but harmful. Children get used to
‘easy’ spontaneity.
Psychodrama v. 1 p. 71
Psicodrama Espanhol p. 113
 Psicodrama p. 122

... Whereas the book is a representative of a cultural conserve, the doll, because of its intentional
semblance to human beings of humanized animals, represents the mechanical being, the robot, the
“zoomaton”. They are beings who can be loved and hated in excess and who cannot love or fight
back, who can be destroyed without a murmur, in other words dolls are like individuals who have
lost all their spontaneity. … The dolls cannot fight back if and when the child exerts his physical
strength by mishandling or destroying the doll. This is contrary to the very principle of democracy.
Children get used to “easy” spontaneity.
... Our homes and nursery schools should replace many of their doll equipments by auxiliary egos,
real individuals, who take the “part” of dolls.
Who Shall Survive? p. 68
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 pp. 171-172

The idea of the meeting hides the seed of two concepts each at the opposite ends of a scale, the
concept of spontaneity and the concept of the doll. An illustration is the relation between the author of
a “book” and his reader. ... ... As in the case of readers, their “counter-spontaneity” is reduced to a
minimum, their opportunity to counter with their own spontaneities is made difficult or impossible.
This situation is best symbolized by a doll which is exposed to the aggressiveness of a child. In the
world of the infant the doll is the symbol for all human beings who are deprived of their spontaneity,
or better, who are in a position of being unable to counter with it. ... Toys such as dolls are inanimate
objects and the child can create the roles of master and slave.
Who shall survive? pp. 67-68
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 171

TRANSFERENCE
... Transference does not take place towards a generalized person or a vague Gestalt but towards a
“role” which the therapist represents to the patient, a fatherly role, a maternal role, the role of a wise,
all knowing man, the role of a lover, of a gentleman, of a perfectly adjusted individual, the model of a
man, etc.
Psychodrama v. 2 p. 8
Las Bases de la Psicoterapia pp. 23-24
Fundamentos do Psicodrama pp. 22-23

TRANSFERENCE/COUNTER-TRANSFERENCE
... Actually, there is no “counter”. Counter-transference is a misrepresentation, it is just
transference “both ways”, a two-way situation. Transference is an interpersonal phenomenon.
Psychodrama v. 2 p. 5
Las bases de la Psicoterapia p. 18
Fundamentos do Psicodrama p. 19
TRANSEFERENCE/TRANSFIGURATION
... But the difficult of Karl was that he could not transfer anything which might produce an
emotional anchorage between him and the therapist. He expected from the therapist several things:
first, that he accepts that he is “Hitler”; second, that he plays the part of a significant person in his
psychodramatic world, for instance, Goering; third, that he is permitted not only to be Hitler, but “to
live Hitler out” in as full a sense of the word as possible. It is not “transference”, it is
“transfiguration” from Karl into “Hitler”, from Bill into Goering. The relationship on the
transfigured level is real, it is a tele relation.
Psychodrama v. 2 p. 202
Las Bases de la Psicoterapia p. 325
Fundamentos do Psicodrama p. 219

TRANSFORMATION HUNGER
VI. ORIGINS OF ANXIETY AND THE “TRANSFORMATION HUNGER” IN
SHIZOPHRENIA

Anxiety is cosmic; fear is situational. Anxiety is provoked by a cosmic hunger to maintain

identity with the entire universe (perhaps to restore the original identity of the infant in the matrix of
identity). This cosmic hunger manifests itself in a) “retrojection”, drawing and receiving from other
organisms signals, ideas or feelings, to add strength to the self (expansion) or to find identity with
himself (confirmation); or b) dread of all organisms with whom he cannot co-act and share existence;
psychodramatically speaking, with whom he cannot reverse roles. These dreads are provoked by his
desire to be transformed into them as his only definite assurance of having identity. The cosmic
hunger of the child strives towards “world” realization. Self realization is only a stage in-between.
Psychodrama: Foundations of Psychotherapy v. 2 p. 154
Psicoterapia de Grupo y Psicodrama pp. 253-254
Psicoterapia de Grupo e Psicodrama pp. 236-237

TRAUMA
... The psychoanalytic investigator pushes backwards towards the trauma. However, there is no
trauma constructible preceding the moment of birth. The psychodramatist pushes forward towards the
act. But the direction of the push begins with the infant at birth, thereby affording no possibility of a
backward push – only a push forward, which is the living process in progression.
Psychodrama v. 1 p. 83
Psicodrama Espanhol p. 129
Psicodrama p. 134

TREMBLING
The trembling is a form of musical stuttering. It can be diagnosed as a performance neurosis or as
a neurosis of creativity. It is not stage fright. Many times the patient is calm and confident before the
performance. The attack comes suddenly while playing, out of the blue sky, as he describes it. The
constellation of his mental syndrome is the product of many factors. ... These factors are linked to a
peculiar development of his creative ego, a surplus of motor images which find an easier outlet in
spontaneity work than in the playing of musical conserves.
Psychodrama v. 1 p. 298
Psicomúsica y Sociodrama pp. 48-49, Horme
Psicodrama p. 355

TRIAD/THERAPEUTIC TRIAD
... A new therapeutic formation, a triad, is formed when a third person, an additional patient, enters
the treatment situation.
Psychodrama v. 2 p. 45
Las Bases dela Psicoterapia p. 83
Fundamentos do Psicodrama p. 59
U

UNCONSCIOUS
UNCONSCIOUS/BEGINNINGS OF THE CONCEPT
In the poet’s mind, forms, moods, visions of roles and plays are continuously in the process of
becoming. They are always in various stages of development within him.
Theatre of Spontaneity p. 78
El Teatro de la Espontaneidad Espanhol pp. 139-140
Teatro da Espontaneidade p. 95

UNCONSCIOUS/COLLECTIVE UNCONSCIOUS
It is also difficult to agree as to the structure of the self. I have described it as a cluster of roles
(private plus collective roles). It reaches out beyond the skin of the individual organism, one of the
“beyonds” is the inter-personal realm. How far does it stretch and where does it end, is the question.
If the self of Man can expand in creativity and in power, and the whole history of Man seems to
indicate this – then there must be some relation between the idea of the human self and the idea of the
universal self or God. The modern apostles of Godlessness, when they cut off the strings which tied
Man to a divine system, a supramundane God, they cut in their enthusiastic haste a little too much,
they also cut off Man’s very self. By the same act by which they emancipated Man from God they
emancipated also Man from himself. They said God is dead, but it was Man who died. My thesis is
therefore, that the center of the problem is neither God nor the denial of his existence, but the
origin, reality and expansion of the self. By self I mean anything which is left of you and me after the
most radical reduction of “us” is made by past and future retroductionists.
Theatre of Spontaneity p. 8
El Teatro de la Espontaneidad p. 34
Teatro da Espontaneidade p. 21

UNCONSCIOUS/COMMON UNCONSCIOUS/CO-UNCONSCIOUS
... It is a fallacy to refer to the unconscious as if it would be the substance from which all mental
phenomena emerge. For an actpersonality, like that of the infant, living predominantly in acts, the
concept of the unconscious does not exist.
Psychodrama v. 1 p. 67
Psicodrama Espanhol p. 109
Psicodrama p. 119

... As long as it is probable that the dream is a comparative late comer in the development of
psychic processes, originating in the period of all-reality, the theory or the unconscious itself loses
the main justification of its existence.
Psychodrama v. 1 p. 70
 Psicodrama Espanhol p. 112
Psicodrama p. 121

... For a continuously balanced creator concepts like the will, the unconscious, would not be
required. For him will and perceptions, unconscious and conscious phenomena are merged into a
single track of experience. … For the absolute creator the dichotomy unconscious-conscious is
meaningless. For him unconscious and conscious have become identical values. He is always on the
level of creativity. The concept of the unconscious is thus a by-product, a pathological projection of a
subject engaged in warming up to an act which he cannot quite master.
Psychodrama v. 1 pp. 303-304
Psicodrama Espanhol p. não há
Psicodrama pp. 360-361

... but can the unconscious material of A ever link naturally and directly with the unconscious
material of B unless they have a common unconscious?
Psychodrama v. 2 p. 47
Las Bases de la Psicoterapia p. 87
Fundamentos do Psicodrama p. 61

... We must either modify the meaning of unconscious by looking for a counterpoint, a sort of a
musical key which is able to relate every event in the unconscious of A to every event in the
unconscious of B, or we must look for concepts which are so constructed that the objective indication
for their existence does not come from the resistances of a single psyche but from a still deeper
reality in which the unconsciouses of several individuals are interlocked, a “co-unconscious”.6
6 A “dyadic or triadic unconscious”.
Psychodrama v. 2 p. 48
Las Bases de la Psicoterapia p. 88
Fundamentos do Psicodrama pp. 62-63

... But when two or more persons are interlocked and their living together has become
indispensable to their welfare and often to their very existence, it is often indicated to treat them as an
ensemble. People who live in close symbiosis, like mother and child or like the famous couple of
Greek folklore Philemon and Baucis, develop in the course of time a common content, or what might
be called a “co-unconscious”.
Psychodrama v. 2 p. 50
Las Bases de la Psicoterapia p. 91
Fundamentos do Psicodrama p. 65

... Co-conscious and co-unconscious states are by definition, such states which the partners have
experienced and produced jointly and which can, therefore be only jointly reproduced or reenacted.
A co-conscious or a co-unconscious state cannot be the property of one individual only.
Psychodrama v. 1 p. vii
Psicodrama Espanhol p. não há
Psicodrama pp. 30-31
 ... The “psychodramatic view of the unconscious” is more complete and potentially superior to the
psychoanalytic view of the Ucs. The free associations are not lost, they are included, in a sort of free
floating of words and fragments of phrases, the degree of dissociation depending upon the intensity of
the bond between word, symbol, behavior and action.
Psychodrama v. 2 p. 99
Las Bases de la Psicoterapia p. 168
Fundamentos do Psicodrama p. 115

... But is the unconscious a substance, an entity, a noun, “the Unconscious”? Or is it not better to
consider, it as an attribute, “unconscious”, a condition which accompanies psychological and social
events in varying quantity and intensity?
Psychodrama v. 2 p. 102
Las Bases de la Psicoterapia pp. 172-173
Fundamentos do Psicodrama p. 118

UNCONSCIOUS/COMMON UNCONSCIOUS/CO-
UNCONSCIOUS/CRITICISM AGAINST JUNG
... Jung does not apply the collective unconscious to the concrete collectivities in which people
live. There is nothing gained in turning from a personal to a collective unconscious if on the way of
doing this the anchorage to the concrete, whether individual or group, is diminished.
Psychodrama v. 2 p. 49
Las Bases de la Psicoterapia pp. 89-90
Fundamentos do Psicodrama pp. 63-64

(6) The system of the Ucs as proposed by Freud and extended by Jung is weak in its foundations. It
is logically inconsistent, incomplete and, from a research point of view, unproductive. The link
between the Pcs (pre-conscious) and the Ucs (unconscious) is not satisfactorily explained. The link
between the Pcs and Ucs of one individual and of another individual is entirely missing and there is a
gap left between the individuals, the small groups and the collectivities to which they belong.
Psychodrama v. 2 p. 58
Psicoterapia de Grupo y Psicodrama p. 102
Psicoterapia de Grupo e Psicodrama pp. 72-73

UNIVERSAL AXIOMA
It has helped us in the beginning of the investigation to think of mankind as a social and organic
unity. ... Whether in the end this guide will be proved to be a universal axiom of a fiction, it has aided
us in the discovery and demonstration of the tele, the social atom, the sociodynamic effect, and the
sociometric network of communication.
Who Shall Survive? pp. 611-612
Fundamentos de la Sociometria p. 422
Quem Sobreviverá? v. 3 pp. 180-181
UNIVERSE/FIRST UNIVERSE
The matrix of identity is the infant’s social placenta, the locus in which he roots. It gives the human
infant safety, orientation and guidance. The world around it is called the first universe, as it has many
characteristics by which it is set apart from the final, the second world. The matrix of identity breaks
up gradually as the infant becomes more autonomous – that is, some degree of self-starting develops
in one function after the other, such as in feeding, eliminating, reaching, and locomotion; his
dependency upon auxiliary egos begins to decrease. The first universe ends when the infantile
experience of a world in which everything is real begins to break up into fantasy and reality. Image-
building develops rapidly, and the differentiation between real and imagined things begins to take
form.
Psychodrama v. 1 p. 64
Espanhol p. 105
Psicodrama pp. 114-115

Long period of infancy – a characteristic of the first universe. The psychoanalytic theory that the
intra-uterine existence of the embryo is too short, implying that a longer pregnancy might be more
desirable, is a misapprehension. It the pregnancy state of the human infant could be prolonged ... ...
He might arrive quite independent and self-sufficient, but he would have sacrificed the opportunities
for which the social placenta prepares him to a prolonged incubation in a narrow rebounding
environment. ...last, but not least, he might have arrived, because of his comparative self-sufficiency,
much less in need of help but also less sensitive for the acculturation of the social heritage
incorporated in the auxiliary egos of the new environment.
Psychodrama v. 1 p. 64
Psicodrama Espanhol pp. 105-106
Psicodrama p. 115

UTOPIA/MORENIAN UTOPIA
UTOPIA/MORENIAN UTOPIA/SOCIOMETRIC TEST
... They become participants in and observers of the problems of others as well as their own; they
become key contributors to the sociometric research. They know that the more explicit and accurate
they are in expressing whom they want, whether as associates in a play, as table mates in a dinning
room, as neighbors in their community, or as co-workers in a factory, the better are their chances to
attain the position in their group which is as close as possible to their anticipations and desires.
Who Shall Survive? p. 103
Fundamentos de la Sociometria p. 93
Quem Sobreviverá? v. 1 p. 203

... Therefore, all in all, the sociometric experiment is still a project of the future.
... The major experiment was visualized as a world-wide project – a scheme well-nigh Utopian in
concept – yet it must be recalled again and again to our attention lest it be crowded out by our more
practical daily tasks in sociometry.
Who Shall Survive? p. 121
Fundamentos de la Sociometria p. não há
 Quem Sobreviverá? v. 1 p. 218

We assumed – naively perhaps – that if a war can spread to encircle the globe, it should be equally
possible to prepare and propagate a world sociometry. But this vision did not arise wholly out of thin
air. Once we had successfully treated an entire community by sociometric methods, it seemed to us at
least theoretically possible to treat an infinitely large number of such communities by the same
methods – all the communities in fact, of which human society consists.
Who Shall Survive? p. 121-122
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 218

... The sociometric experiment will end in becoming totalistic not only in expansion and extension
but also in intensity, thus marking the beginning of a political sociometry.
Who Shall Survive? p. 122
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 219

The spontaneity of mankind in such a future world order will multiply in direct proportion to the
number of its groups and the numbers of interactions between them. It will be so enormous that the
power of man, the exercise of his collective energy will surpass everything we have ever dreamed.
Who Shall Survive? p. 547
Fundamentos de la Sociometria p. 368
Quem Sobreviverá? v. 3 p. 114

45. The maximum and final effectiveness of sociometric methods cannot be estimated adequately
by experimental designs of any type. It requires total application to an entire culture and its practice
within it for long stretches of time.
Who Shall Survive? p. 713
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 205

UTOPIA/MORENIAN UTOPIA/TELE
... The day may come when, through cultivation and training of many generations in the conation
and cognition of tele, in role enactment and role perception, we will be able to penetrate the social
universe by standing still, without moving into it, and communicate with individuals at a distance
without meeting them physically, attaining the effects of extrasensory perception without an
extrasensory function.
Who Shall Survive? pp. 327-328
Fundamentos de la Sociometria p. 219
Quem Sobreviverá? v. 2 p. 192

UTOPIA/MORENIAN UTOPIA/THERAPY
A truly therapeutic procedure cannot have less an objective than the whole of mankind.
Who Shall Survive? p. 3
 Fundamentos de la Sociometria p. 39
Quem Sobreviverá? v. 1 p. 117

“I predict sociometry and psychodrama will have an important place in the history of sociology as
it will be written in the year 2000”.
Who Shall Survive? p. lxxxv Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 p. 84 Prelúdios
V

VISUALIZATION/BEGINNINGS OF NA INTERNAL
PSYCHODRAMA
Moreno: Try to concentrate now and try to visualize it the best you can, but don’t tell us anything
about it. Just concentrated on the dream. Do you have it now? Let it pass just like a sequence of sense
through your mind. Do you have it? (Moreno’s voice is suggestive, gentle and softer than usual).
Moreno, J. L. “Fragments from the Psychodrama of a Dream”, in “Group Psychotherapy”,
March 1951, nº4, v.iii, pp. 347-348.
Psicoterapia de Grupo y Psicodrama p. 323
Psicoterapia de Grupo e Psicodrama p. 305

Moreno: Alright, now Martin, close your eyes breathe deep, breath deeper and try to fall asleep.
Concentrate on that dream. Very soon you are going to dream the same dream all over again which
you had five days ago when you were sleeping in yours father- in -law’s house. Here you are the
dream is emerging now. Now the dream is emerging, what do you see first in the dream? What
happens first?
Martin: well, I see a group of women.
Moreno: A group of women? What are you doing there?
Martin: I don’t know…. I’m just watching them.
Moreno: Are you seating or standing?
Martin: I’m standing.
Moreno, J. L. “Fragments from the Psychodrama of a Dream”, in “Group Psychotherapy”,
March 1951, nº4, v. iii, p. 348.
Psicoterapia de Grupo y Psicodrama p. 324
Psicoterapia de Grupo e Psicodrama p. 306
W

WARMING UP PROCESS
“Warming up process” is a technical term deriving from discussion of spontaneity work.
Spontaneity is explored through the study of spontaneous states, states or roles into which an
individual throws himself suddenly. Such states are usually felt by the acting subject as completely
novel experiences, frequently, in fact, there is no concrete precedent in the life history of the subject
for the role portrayed. A stenographer may be called on to express anger in the role of a policeman.
These spontaneous states are brought into existence by various starters. The subject puts body and
mind into motion, using body attitudes and mental images which lead to the attainment of the state.
This is called the warming up process. The warming up process can be stimulated by bodily starters
(a complex physical process in which muscular contractions play a leading role), by a mental starters
(feelings and images in the subject which are often suggested by another person), and by psycho-
chemical starters (artificial stimulation through alcohol, coffee, for instance).
Psychodrama v. 1 p. 244 (footnote)
Psicodrama Espanhol p. 328 (nota de rodapé)
Psicodrama pp. 300-301 (nota de rodapé)

WARMING UP PROCESS
The warming up process manifests itself in every expression of the living organism as it strives
towards an act. It has a somatic expression, a psychological expression, and a social expression.
Psychodrama v. 1 p. 56
Espanhol p. 96
Psicodrama p. 106

WARMING UP PROCESS/ABORTIVE
... But he was not aware of the deep psychological conflict in which the actor became involved,
using improvisation on one hand by recalling and enacting vivid emotional incidents of the past, and
rehearsing at the same time roles, situations and dialogues, created and organized for him by a
playwright. His actor, because of working in two dimensions, develops a warming up process which
is abortive and embryonic along spontaneous lines to be obliterated later on – and another warming
up process, organized and conserved, which is to absorb and translate the inspirations received from
what we psychodramatists call spontaneous states into conserved and uncreative phrasing, that is,
uncreated by the actor.
Theatre of Spontaneity p. 101
El Teatro de la Espontaneidad pp. 169-170
Teatro da Espontaneidade pp. 119-120

WARMING UP PROCESS/ACTORS
 Third stage: The actors are warming up to their roles. The change from their private personalities
to their role characters takes place before the public by means of mask, costume and physical make-
up as well as by behavior and gestures. These stages are separated from one another by a short pause
or blackout.
Theatre of Spontaneity p. 69
El Teatro de la Espontaneidad pp. 125-126
Teatro da Espontaneidade p. 86

WARMING UP PROCESS/ACTORS/BODY TRAINING OF

The body of the player must be as free as possible, it must respond sensitively to every motive of
mind and imagination. It must have the power to perform as large a number of motions as possible,
and perform them easily and rapidly. These motions must, indeed, be spontaneous so that the player
may not fail in a crisis. It may well happen that an idea may occur to player unaccompanied by any
hint of a suitable gesture, and if he is not resourceful the whole act may go to pieces. To eliminate this
danger, a) as large a supply of possible movements must be stored up in the body as the player can
acquire, so that these may be called forth by the ideas as these occur, b) creating of responses
(“creatoflex”) must be learned.
Psychodrama v. 1 p. 44
Psicodrama Espanhol p. 78
Psicodrama pp. 93-94

WARMING UP PROCESS/BEGINNING
… In order to be adequate in a particular act he should begin to warm up as near to the act as
possible and the experimenter ought to know when he begins to warm up. (Rule of the warming up
process or active productivity.)
Who Shall Survive? p. 61
Fundamentos de la Sociometria pp. 66-67
Quem Sobreviverá? p. 166 v. 1

WARMING UP PROCESS/DIRECTOR
In the warming up process of the group it is best to view all the coactors in situ and to view them
in the direction of their productivity. In order to view them you have to move with them, but how can
you move with them unless you, the experimenter, are a part of the movement, a coactor? The safest
way be in the warming up process yourself is to become a member of the group. (Rule of “coaction”
of the researcher with the group).
Who Shall Survive? p. 61
Fundamentos de la Sociometria p. 67
Quem Sobreviverá? v. 1 p. 166

WARMING UP PROCESS/FEED-BACK
... It is thoughtless to transfer terms describing sheer mechanical phenomena to spontaneous human
relations. To substitute warming up by feedback is an oversimplification; it may appeal to the
academicians as another “semantic withdrawal from reality”.
Who Shall Survive? p. 607
 Fundamentos de la Sociometria p. 418
Quem Sobreviverá? v. 3 p. 176

WARMING UP PROCESS/FOR GROUPS

In all forms of extemporaneous psychodrama the chief problem is how to get the group started. The
best prescription is to let the warm up come from the group itself. Anything can start the ball rolling.
There is no one who begins and there is no favorite topic. It may start with a joke, with an outburst of
anger of one member of the group towards another or towards someone not present; the therapist
waits patiently until a situation structures itself of pushes gently along the lines of strongest
productivity. Some sessions are not only leader-centered but also problem-centered. A problem is
given or chosen; the central intent of such a session is to let the problem structure itself, assuming that
there are certain problems inherent in the group present, certain gripes, resentments or expectations.
Experience has shown that what appears to be a planless beginning gradually leads to a significant
process of production, as if it would have been carefully planned. In the course of such actions,
abreactions, interactions, interabreactions, role playings, dialogues, interviews, discussions,
analyses, one or another individual or a clique of individuals comes forth with a special problem. It
comes spontaneously to an acting out unless the atmosphere is purposely restricted and unless
there is a silent consensus that action are taboo. Otherwise, acting out will take place within the
group itself and thus the action portion of a psychodrama session begins. It is due to the awareness of
psychodramatic research that such things take place that the idea arose to give such acting out a
special vehicle within the auditorium, a psychodrama stage. The acting out came first, the stage was
built to accommodate this dynamic process within the group. Without a special vehicle for their
acting out tendencies the group members may be inclined to consider them illegitimate. The use of
acting out techniques makes the responsibility of the director greater and requires a special skill of
direction, but their inclusion has therapeutic and research advantages.
Who Shall Survive? p. lxxiii–lxxiv Preludes
Fundamentos de la Sociometria p. não há
Quem Sobreviverá? v. 1 pp. 74-75 Prelúdios

WARMING UP PROCESS/INDIVIDUAL DIFFERENCES

An analysis of the spontaneous responses between Elsa, the subject, and each of the four partners
in the 32 situations acted disclosed that each individual differed in the frequency with which she
warmed up to a specific relation.
Who Shall Survive? p. 363
Fundamentos de la Sociometria p. 242
Quem Sobreviverá? v. 2 p. 223

WARMING UP PROCESS/LOVE
... Interpersonal situations as love relations are, as a matter of course, accompanied by intensively
heated states.
Who Shall Survive? p. 540
Fundamentos de la Sociometria p. 362
Quem Sobreviverá? v. 2 p. 105
WARMING UP PROCESS/MISSING OF
When a person is entirely absorbed by a role, no part of his ego is free to watch it, and so to
record it in his memory.
Psychodrama v. 1 p. 204
Psicoterapia de Grupo y Psicodrama p. 304
Psicoterapia de Grupo e Psicodrama p. 287

WARMING UP PROCESS/SPONTANEITY
... The intensity of the spontaneous act cannot last beyond a certain point in time without
weakening. The actor must come to a pause sooner or later.
... Besides the process of act-making he must have the process of pause-making under control. An
act is rhythmically followed by a pause. Tension is followed by relaxation. There is a duration of
tension and a duration of relaxation; both are measurable. A spontaneous act should not continue past
the moment when relaxation threatens to set in. There is the prospect of an inner creative crisis in
every step of spontaneous performance, physical and mental, artistic or social. This factor is known
to athletes – especially to prize-fighters. A psychological knock-out takes place long before the
physical knock-our. A faulty warming-up process in the losing fighter can generally be found
responsible for a premature end to the fight.
Theatre of Spontaneity p. 52
El Teatro de la Espontaneidad p. 96
Teatro da Espontaneidade p. 67

Spontaneity propels a variable degree of satisfactory response, which an individual manifests in a

situation of variable degree of novelty. The warming up process is the operational expression of
spontaneity.
Who Shall Survive? p. 42
Fundamentos de la Sociometria p. 56
Quem Sobreviverá? v.1 p. 150

According to spontaneity hypothesis it is assumed that learning connected with highly warmed up
states establishes special associations. Contents of learning which enter the mind connected with
highly warmed up states recur more easily with the recurrence of similarly warmed up states.
Who Shall Survive? p. 540
Fundamentos de la Sociometria p. 361
Quem Sobreviverá? v. 3 pp. 104-105

Spontaneity propels a variable degree of satisfactory response which an individual manifests in a

situation of variable degree of novelty. The warming up process is the operational expression of
spontaneity.
Who Shall Survive? p. 42
Fundamentos de la Sociometria p. 56
Quem Sobreviverá? v. 1 p. 150

WARMING UP PROCESS/STARTER/CATEGORIES/BODY POSITION

GENERATING EMOTIONS
Warming Up Process. The bodily starters of any behavior as acting or speaking on the spur of the
moment are accompanied by physiological signs. In the process of warming up these symbols unfold
and release simple emotions, as fear, anger, or more complex states. It is not necessary that verbal
reactions evolve in the process of warming up. They may or they may not. But the mimic symbols are
always present; they are related to underlying physiological process and to psychological states.
Warming up indicators have been determined experimentally. The experiment was so conducted that
the subject had no intention to produce any specific mental state. It was suggested to him to throw
himself into this or that bodily action without thinking what will come out of it. The ‘starting’ of these
actions was found to be accompanied by a process of ‘warming up’. We could observe then that if a
subject lets go with certain expressions as gasping, accelerating the breathing, etc., without a definite
goal, there are nevertheless developed certain emotional trends. The latter did not seem to be relate
to one emotion exclusively but rather to a whole group of emotions with similar properties in
common. For instance, the following expressions, - clenching teeth and fists, piercing eyes, frowning,
energetic movements, shrill voice, hitting, scuffing of feet, holding head high, accelerate breathing,
and others, tend to release emotional states as anger, will to dominate, hate, or a vague precursor of
these trends of feeling. Another set, accelerated breathing, gasping, trembling, flight, twisting facial
muscles, inability to talk, sudden crying out, clasping hands, etc, is developing another trend of
feeling, anxiety, fear, despair, or a combination of these. Another set, smiling, laughing, chuckling,
widening the eyes, kissing, hugging, etc, is stimulating a condition of happy excitation. However,
undifferentiated the feelings produced may be, it is observable that one set of movements starts one
trend of feelings and another set of movements starts another trend, and so on.
Psychodrama v. 1 pp. 81-82
Psicodrama Espanhol p. 126
Psicodrama pp. 132-133

WARMING UP
PROCESS/STARTER/CATEGORIES/OVERHEATED-
RUDIMENTARY
... An overheated warming up process would indicate that a surplus of s factors are operating in a
given area – that is, beyond what is required for an equilibrated act.
Psychodrama v. 1 p. 56
Psicodrama Espanhol p. 96
Psicodrama p. 106

The training has proved to be a valuable aid in the treatment of feelings of excitation and feelings
of insufficiency. We have found that students who suffer from “rudimentary-warming up” or from
“over-heated warming-up” can learn how to warm up more adequately. The most striking therapeutic
effect is the general increase in flexibility and facility in meeting life situations, within the organic
limits of the particular individual.
Psychodrama v. 1 p. 137
Psicodrama Espanhol p. 192
Psicodrama p. 190
WARMING UP PROCESS/STARTER/CATEGORIES /PHYSICAL
... the infant binds its spontaneous energy to the new milieu, via the physical starters of the
warming up process. As we know, it would not be successful in this effort, if the mental starters of
auxiliary egos – mothers, midwives, and nurses – in this milieu would not come to his rescue, i.e., by
caring for and feeding him.
Psychodrama v. 1 p. 54
Psicodrama Espanhol p. 94
Psicodrama p. 105

The physical self-starters, as it has been observed in spontaneous experiments with adults, work by
conscious provocation of a simple act which, if properly aroused, begins, by its own momentum, to
be followed up by other involuntary and voluntary actions; for instance, the tempo of breathing
increases two to three times beyond the original voluntary step.
Psychodrama v. 1 p. 53
Psicodrama Espanhol p. 92
Psicodrama p. 103

In the birth situation, the physical starters are stirred up long before the act of birth takes place.
Psychodrama v. 1 p. 54
Psicodrama Espanhol pp. 93-94
Psicodrama p. 104

WARMING UP PROCESS/PHYSICAL VERSUS VERBAL

That which, for the legitimate actor, is the point of departure – the spoken word – is for the
spontaneity player the end stage. The spontaneity player begins with the spontaneity state; ... The
spontaneity state develops and “warms up” until it articulates at the level of speech.
Theatre of Spontaneity p. 73
El teatro de la Espontaneidad p. 130
Teatro da Espontaneidade p. 89

WARMING UP PROCESS/STARTER/CATEGORIES MENTAL VERSUS

PHYSICAL WARM-UP
In this case the task is to make mental behavior bodily, it is the “incarnation” of the mind.
Psychodrama v. 1 p. 142
Psicodrama Espanhol p. 197
Psicodrama p. 194

When the pupil is asked to sew a button on a piece of cloth, to comfort a distressed child, to clean
a blackboard, various groups of muscles are set in action and the mind is indirectly stimulated
towards certain emotional states.
Psychodrama v. 1 p. 142
Psicodrama Espanhol p. 196
 Psicodrama p. 194

WARMING UP PROCESS/STARTER/CATEGORIES/SELF-STARTER
We know from the study of the warming up process in adult performance and inter-personal
relations that categories of selfstarters can be differentiated, that is, physical starters and mental
starters. The differentiation into two separate ways of starting is not yet available to the infant. ... We
can well assume therefore that he makes use only of physical starters. The physical starters continue
to be the rescue-starters in all warming up processes throughout the life span. ... Unlike the infant, the
adult has, of course, developed mental, social, and psychochemical starters, which independently may
initiate his warming up as well as interact with physical starters.
Psychodrama v. 1 pp. 53-54
Psicodrama Espanhol p. 93
Psicodrama p. 104

WITHDRAWAL FROM REALITY

46. A “measure” of withdrawal from reality is the larger the number of incorrect “guesses” an
individual makes of the relation which the individuals who form his social atom have towards each
other, of the individuals who choose or reject him or whom he chooses or rejects or who choose or
reject each other. This is a measure of what is often called a “withdrawal from reality”.
Who Shall Survive? p. 713
Fundamentos de la Sociometria não há
Quem Sobreviverá? v. 3 p. 205

WORD
14. In the course of interaction between two actors the initial word volume spoken is a clue to the
intensity of the sympathy or dominance of the actor.
Who Shall Survive? p. 706
Fundamento de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 197

WORDS/WORDS VERSUS ACTION

... During a very important part of our life, the earliest part of it, in our infancy, we have no such
means of “normalized” social communication, but the impress of this period of our life upon our
future development is ever present. In this period, acts are acts and not words, and the action matrices
which we develop in infancy are prior to the world matrices which we integrate into them later.
Psychodrama v. 1 p. xiii
Psicodrama Espanhol p. não há
Psicodrama p. 38

... Warming up indicators are the deciding clue as to whether an emotional state is in process of
release. Verbal reactions are less reliable signs that a state is reached or about to be reached. A
subject may use apt words with little or no accompanying emotion, but it is practically impossible,
once an emotion is initiated, to act without being carried away by the trend of feeling produced. All
associations, acts, verbal and mimic are related to the trend of feelings developed
Who Shall Survive? p. 339
Fundamento de la Sociometria p. 230
Quem Sobreviverá? v. 2 p. 201

50. The actual behavior of a subject is not identical with his symbolic behavior as expressed
through words, drawings, pictures and other projection materials. Psychoanalysis and projection tests
rely upon the symbolic behavior of the subject and must interpret its significance by means of an
analytic code. It requires to be submitted to two types of analysis, besides the apperception of the
immediate events an interpretation of its symbolism. In contrast with them psychodrama, role playing,
sociodrama, sociometric tests and other group and action methods enter into direct contact with the
actual behavior of subjects. Speech, movements, etc., are not seen as fragments but in their actional
and interactional contexts. Changes are visible in the behavior and actions of the subjects which can
be used for diagnostic as well as therapeutic assessments. The distinction between “analytic” and
“operational” psychotherapies is founded upon the conditions described here.
Who Shall Survive? p. 714
Fundamento de la Sociometria p. não há
Quem Sobreviverá? v. 3 p. 206

... However important verbal behavior is, the act is prior to the word and “includes” it. The act
residua in the Ucs are topographically prior to the word residua. The inclusion of the motor end of the
psychic apparatus into the system of the Ucs becomes a foregone conclusion.
Psychodrama v. 2 p. 101
Las Bases de la Psicoterapia p. 171
Fundamentos do Psicodrama p. 117
Z

ZONES
... Certain zones tend toward co-action and cooperation, as the mouth zone with the throat zone, the
bladder zone with the anal zone, the visual zone with the hearing zone, etc. Certain zones tend to
exclude one another – as the manual zone and the throat zone, the bladder zone and visual zone. ...
Therefore, the organism of the infant which consisted originally of so and so many separated segments
superimposed upon the various zones of the organism, will begin to merge them into large areas of the
body. The larger the area of the body which the warming up takes into its strides, the larger the
number of neuro-muscular units stimulated.
Psychodrama v. 1 p. 58
Espanhol p. 98
Psicodrama pp. 108-109

... One activity at a time excludes every other activity; one focus every other focus.
Psychodrama v. 1 p. 61
Espanhol p. 101
Psicodrama p. 112

ZONES/LOCUS NASCENDI/WARMING UP PROCESS

Process. It is paradoxical that the infant has at birth an organism whose anatomic and physiological
unity is never greater. ... He is an actor – without words and almost without a cerebral cortex. He is
compelled to form his world on the basis of small and weakly related zones, scattered unevenly over
the body. These zones can be divided into operational zones and non-operational zones. ... Certain
zones – the visual zone, the nasal zone, the mouth zone, etc., - are already in formation during the first
week of the infant’s life. The significance of every zone is that it is formed in behalf of an
indispensable function of the infant, and therefore arouses the infant to concentrate upon the acting out
of this function.
Psychodrama v. 1 pp. 56-57
Psicodrama Espanhol pp. 96-97
Psicodrama p. 107

Each warming up process has a focus. It tends to be localized in a zone as its locus nascendi.
However, the first sensitized areas – sensitized by these acts of warming up – are not literally
attached to the skin of the infant. There is no mouth zone, anal zone, actually, but zones of which the
mouth or the anus are a part. The zone is, in this “sociometric” sense, an area to which, for example,
the mouth, the nipple of the mother’s breast, the milk fluid, and the air between them are contributing
factors.
Psychodrama v. 1 p. 57
Psicodrama Espanhol p. 97
 Psicodrama p. 108

ZOOMATICS/ZOOMATICS/ROBOTS
... The robot, like the auxiliary ego, makes man free from man and gives him an artificial sense of
wellbeing and power.
Who Shall Survive? p. 603
Fundamentos de la Sociometria p. 414
Quem Sobreviverá? v. 3 p. 172

... But robots cannot produce na ounce of spontaneity.

Who Shall Survive? p. 603
Fundamentos de la Sociometria p. 415
Quem Sobreviverá? v. 3 p. 172

A human infant results from the conjugation of a man and a woman. A robot results from the
conjugation of man with nature itself.
Who Shall Survive? p. 603
Fundamentos de la Sociometria p. 415
Quem Sobreviverá? v. 3 p. 172

The fate of man threatens to become that of the dinosaur in reverse. The dinosaur may have
perished because he extended the power of his organism in excess of its usefulness. Man may perish
because of reducing the power of his organism by fabricating robots in excess of his control.
Who Shall Survive? p. 604
Fundamentos de la Sociometria p. 415
Quem Sobreviverá? v. 3 p. 173

Robots derives from a Polish word robota, to work. My idea of the “zootechnical animal” (1918)
was popularized a few years later by Karl Czapek in a play “Rossom’s Universal Robots”, 1921; he
coined the term robot. The term is not adequate as in the zootechnical animal not only work but also
destruction is implied. Thus in my definition the working robot can become ferocious and vice versa.
A better term than robot might have been genie. According to the Arabic use there were good and bad
spirits among them who assumed the form of animals, giants and so forth. The robot is really a
“zoomaton” zoo, from Greek zoon, animal (zoo, live), automaton, a Greek word, neut. of automatos,
autos, self, mao, strive after.
Who Shall Survive? p. 599 (footnote)
Fundamentos de la Sociometria p. 411 (notas)
Quem Sobreviverá? v. 3 p. 168 (nota de rodapé)

... These odd enemies are technical animals which can be divided into two classes, cultural
conserves and machines. The more popular word for them is robots.
Who Shall Survive? p. 600
Fundamentos de la Sociometria p. 411
 Quem Sobreviverá? v. 3 p. 168

ZOOMATICS/ROBOTS/DOLLS
... These observations were confirmed by the attitude which children show towards dolls. The doll
does not have the often unpleasant counter-spontaneity which real human beings have, but it has still
some physical and tangible reality which pure fantasy companions do not have. ... Here he gets the
first taste of the robot which he can destroy at will and which may one day go out and act as decreed
by him. Dolls seem to make the child free – independent from other children and from adults.
Who Shall Survive? pp. 602-603
Fundamentos de la Sociometria p. 414
Quem Sobreviverá? v. 3 p. 171

ZOOMATICS/ROBOTS/FUTURE
The battle between zoon (living animal) and zoomaton (mechanical animal) approaches a new
peripety. The future of man depends upon counterweapons to be developed by sociometry, sociatry,
bioatry and similar disciplines.
Who Shall Survive? p. 606
Fundamentos de la Sociometria p. 417
Quem Sobreviverá? v. 3 p. 175

... It seems to me that zoomatics, which emphasizes the semblance between mechanism and
organism, is a happier term for this science than cybernetics, which means steersman.
Who Shall Survive? p. 607
Fundamentos de la Sociometria p. 418
Quem Sobreviverá? v. 3 p. 175

ZOOMATICS/ROBOTS/HOW TO LEAVE WITH THEM

... The countermeasure lies in a cold appraisal of the situation, a systematic study of the causations
underlying the invention of mechanical devices, the origin of the robot in human nature and beyond it,
a careful calculation of the “socio-atomic organization of mankind”. In other words, we should bring
the problem into full scientific consciousness and develop parallel with sociometry a zootechnique, a
science of the technical animals.
Who Shall Survive? p. 601
Fundamentos de la Sociometria p. 413
Quem Sobreviverá? v. 3 p. 170

ZOOMATICS/ROBOTS/PHATOLOGICAL CONSEQUENCES
... The pathological consequences are enormous. Man turns more and more into a function of
culture and technological conserves, puts a premium on power and efficiency and loses credence in
spontaneity and creativity.
Who Shall Survive? p. 604-605
Fundamentos de la Sociometria p. 415
Quem Sobreviverá? v. 3 p. 173
ZOOMATICS/ROBOTS/REAZONS FOR IT´S INVENTION
The invention of robots is a skill of homo sapiens. ... Why should man want robots? It is perhaps
the same reason, in reverse, as the one which at an earlier period made us want a God to whom we
were robots. ... Our relationship to God may be simply this – he needs a lot of helpers in order to put
his creation over. Man too, has a program of living, of creation on a minor scale, he needs helpers
and weapons to defend himself against enemies.
... There must be a deeper and additional reason why we wanted and created the technological
kind. An analysis of spontaneouscreative processes broadened my understanding of the problem.
Infants, immediately after birth demonstrate that the less spontaneity a being has the more it requires
some one who has it, in order to survive. The infant lives on borrowed spontaneity. The humans who
are at the beck and call of a helpless, crying infant, who come and carry, feed and comfort it, I call
auxiliary egos. ... The infant wants its auxiliary egos perfect, that is, to have all their ready
spontaneity available for him, the infant, and none for the egos, themselves. This offers a clue for
understanding the relationship between the idea of the auxiliary ego and the idea of the robot.
Who Shall Survive? pp. 601-602
Fundamentos de la Sociometria pp. 413-414
Quem Sobreviverá? v. 3 pp. 170-171

ZOOMATICS/ROBOTS/ROBOTS IMORTALITY
... The book is a robot par excellence. Once off the press, the parent, the producer, the author is
immaterial; the book goes to all places and to all people, it does not care where it is read and by
whom. Many robots have further in common the attribute of comparative immortality. A book, a film,
an atomic bomb, they do not perish in the human sense, the same capacity is always there, they can be
reproduced ad infinitum.
Who Shall Survive? p. 600-601
Fundamentos de la Sociometria p. 412
Quem Sobreviverá? v. 3 p. 169
1 Laplanche J.; Pontalis J.B.- “The Language of Psychoanalysis” , Paperback, Karnack Books, 1988.
2 GEM- Moreno’s Studies Group- DAIMON, a group of studies coordinated by Dr. José Fonseca and
Dr. Wilson Castello de Almeida, that started in 1995 to read and discuss all Moreno’s books IN
S.Paulo, Brazil.
3 E-mail: [email protected]
4 Rosa Cukier’s note: this explanation comes from Zerka Moreno, and has been published in “Group
Psychotherapy, Psychodrama and Sociometry”, vol.xxxiii, 1980,p.5.
5 Rosa Cukier’s note: wild psychoanalysis refers to the use of psychoanalytic theory to analyze dead
people or people who were not there.
6 "DEUS EX MÁQUINA" Deus ex machina: from Greek Latin antiquity means a kind of dramaturgic
resource where a god falls slowly down the scene in order to give an arbitrary end to the conflict.
(Houaiss Dicionário da Lingua Portuguesa, Editora Objetiva, 2001, S.P., Brazil).
7 Rosa Cukier’s note: Moreno is talking about spontaneity here.
8 Rosa Cukier’s note: this was first said by Paul Portner, in “Psychodrama: Theater Der
Spontaneitat”, Theather Heute,Setembro,1967, p.13.
9 Rosa Cukier’s note: Moreno exemplifies with the case of a soldier that could identify himself with
an actor in a repatriated role, but not in a fanatic role.
10 Rosa Cukier’s note: Moreno is talking about an auxiliary ego, deeply touched when working with a
client in a matrimonial crisis, because he was going through the same problem in his own family.
11 Rosa Cukier’s note: Moreno means the actor in scene
12 Rosa Cukier’s note : Moreno is referring to the use of questionnaires.
13 Rosa Cukier’s note: Happening means a special event and characterizes an artistic and cultural
movement.