Principles of Training

by Paul Baakman

Paul Baakman is a Psychodramatist; Trainer, Educator, Practitioner (TEP); and is the Director of the Christchurch Institute for Training in Psychodrama. He is currently a trainer in the Christchurch and Dunedin training programs. This article draws from Paul’s written work for accreditation as a TEP.

INTRODUCTION We have the potential to destroy the planet many times over. To survive and flourish The Spirit of Adaptation instead of perish, we need models and methods that reflect and support the wish At the time of writing I have been to sustain and develop life. One such watching a BBC documentary, called ‘The method is the psychodrama method, which Planets’. The program makes it clear that has a theory of spontaneity and creativity toward the end of the Sun’s life it will at its core. greatly expand and finally explode. This means ‘curtains’ for Earth. We may find J.L. Moreno had a grand vision for temporary refuge on other planets, but psychodrama. He said, “A truly ultimately we will need to look to the therapeutic procedure cannot have less stars for a new home. A bit of a challenge an objective than the whole of mankind.” perhaps, but we have about one billion (Moreno, 1993: 3) A true systems thinker, years. Perhaps we will take off with a Moreno saw all of life interconnected. He ‘Noah’s Ark’ of genetic codes, enabling was adamant we should have a system of us to conserve Earth’s life forms. Perhaps society in which everyone has a place. He creativity in science will enable us to adapt believed that the effect of excluding one to alien environments. We surely will need person could be immensely destructive, all the creativity and spontaneity that we (note the recent spate of high school can muster, and it is just as well that we shooting sprees in the USA: it appears the have some time up our sleeves! killer usually is socially isolated).

68 ANZPA Journal No.11 December 200268 The Systemic Principle of Inclusion on the need to integrate a personal vision, a creative plan and a developmental model Moreno’s thoughts about inclusion are with experiential learning. I illustrate how the applicable, not only to individuals, but also psychodrama method itself is applied in the to groups within society. This is of particular process of training in psychodrama, and how relevance to New Zealand and Australia, the training takes place in a larger context. both countries with a colonial past during which the earlier people were overrun. These principles of training represent an ‘Inclusion’ does not equal submission to overview of the main ideas and values that the dominant culture. It means partnership, currently underpin my philosophy and respect and dialogue, and a genuine attempt practice of training. I have developed these to heal the rift that arose through conquest ideas in collaboration with my trainers and genocide. Bob and Joanna Consedine and colleagues. They are constantly tested (2001:226), put this vision forward: “History through practice and they are evolving. verifies over and over again that the human spirit is capable of much more than self PRINCIPLES OF PSYCHODRAMA interest. There is innate fairness, generosity TRAINING and grandeur in every human being that has the capacity to reach out and respond to the The training journey is greatly enhanced demands of justice and the common good. when the trainee’s personal sense of The task of every human being is to improve purpose is congruent and integrated society”. with the psychodrama method

In harmony with the above is the vision Those trainees who go all the way to put forward by ANZPA’s Board of certification will, at some point, need to Examiners, in the Training and Standards examine how to weave the method in Manual (1993:2):”the vision is of able men with their personal vision. For me this and women all over the place expressing was a gradual process. I was raised in the themselves relevantly in the ordinary here Roman Catholic tradition, which mostly I and now situations in which they live and found thoroughly uninspiring. However, work. This expression may be in silence, some aspects of the faith I still value today. in building, in planning, in negotiating, These are the music, the singing, the in teaching, or in play, but it will be a magnificent works in stained glass, and responsive and creative expression that some of the parables. Something that was brings joy to the human spirit, that uplifts the emphasised, (and which is still with me) is soul, that makes us feel part of the universe a sense of social responsibility. Although again”. this sometimes went no further then being encouraged to engage in charitable works, This article identifies six principles that I did hear and read of ‘heroes’ like the undergird a training program and illustrates bishops and priests working in Central these using personal experiences and America, putting themselves on the line practices. In developing these principles, and aligning themselves with the voiceless a central interest has been to make sure and the oppressed. These stories resonated they reflect the spirit of adaptation and the strongly within me. systemic principle of inclusion. I also focus

ANZPA Journal No.11 December 2002 69 During my early teenage years, I developed and indirectly, contributes to society’s a passionate longing for adventure and the opportunities to endure and flourish. This exotic. I would walk along a forest path is in line with my personal vision for a and imagine strange lands and wondrous sustainable and progressive world. happenings. (I now see these daydreams as a womb for my then embryonic roles Possibilities in the Training Process of emigrant and dramatist). These early experiences are at the roots of my personal To assist the process of training people to vision for a world that can progress, and is become psychodramatists, we must first sustainable. ask how a training group can endure and flourish. The application of a set of guiding When the time came to choose an occupation principles is one way of ensuring this. The I felt equally attracted to social work application of the psychodrama method and drama school. I choose to train as a itself to the training process is a tremendous residential social worker and later as a strength in the ANZPA culture, and ensures psychiatric nurse. During my initial training, training is purposeful. Apart from what is I took part in an elective, which was a taught, also how the training is delivered ‘sensitivity training workshop’. This stirred provides trainees with another source of me, as it made me see what was made learning. possible through inspired group work. The training, when guided by a creative Many years later, during my training plan, is purposeful and effective as a psychiatric nurse, I enrolled for a psychodrama workshop organised by Mike In developing a creative plan the trainer Consedine and directed by Wayne Scott. This warms up to imagination and innovation. was a revelation for me and reminded me of The training that follows will be imbued my early passion for group methods. I took with dynamism and novelty, and trainees to it like a duck to water. I finally had found will get in touch with their love of learning. something that enabled me to creatively Training without a creative plan is likely to combine my desire for ‘working with people be experienced, by trainer and trainee alike, for an improved world’ (therapeutic work), as lacklustre, reactive, robotic, and all over with my longing for ‘adventure and the the place. exotic’ (drama). A Creative and Flexible Plan A Focus on Human Possibilities A creative and flexible plan draws inspiration The psychodrama method is an inclusive from the Training and Standards Manual, process that encourages people to be all that and takes into account the warm-up created they can be. Rather than learning to live by the curriculum. within one’s limitations, people are inspired to live to the full extent of their possibilities. ANZPA’s Training and Standards Manual This is a departure from a pre-occupation is an inspirational document that enables with illness, dysfunction or pathology. trainers and trainees to monitor development Psychodrama has a focus on creativity, more clearly. It also provides a reference and training in this method, directly

70 ANZPA Journal No.11 December 2002 point for those trainees who wish to present Creating Conditions in Which for assessment. Opportunities for Learning may Unexpectedly Emerge In addition to this the staff at the Christchurch Institute for Training in Too much of a focus on formal requirements Psychodrama have developed a curriculum can stifle the very spontaneity we aim to which guides the planning of training. The promote. In every training group, events take first step in creating a training plan is to place that provide material for training or assess the training group - its composition, teaching purposes. When a trainer makes use age and gender distribution, professional of these ‘golden moments’, the training has backgrounds, training history, and areas of a relevance to the here-and-now experience interest indicated by trainees. A flexible plan of group members. Connecting the training takes into account the developing warm-up with real-life events in the group, adds a of the group. However, when working with significant quality to the learning. The here- a training group I am always ready to adjust, and-now event has trainees warmed up or sometimes abandon, the plan. not only to their thinking, but also to their feelings and actions and relationships to Planning is essential for the warm-up of each other. Teaching or training at this point the trainer. Without a plan, training is has immediate relevance, is anchored to an haphazard, and the focus of training depends experience and is therefore more readily on the luck of the draw. In such a situation integrated and remembered. This counters the trainer is at risk of merging with the tendencies toward intellectualisation and group, in deference to what may seem like may avert boredom and detachment. This a ‘spontaneous’ agenda. Moreno (1993: 11) method of training creates links between made a distinction between spontaneity theory and real life, models ‘learning through and impulsivity, by emphasising that experience’, and as such is of great practical spontaneity is the catalyst for creativity, and value to trainees ready to apply the method that spontaneity without creativity makes for to their life and work. “spontaneous idiots”. Readiness Training without a plan can lead to lopsided development, and trainees remain with Having established the need for a creative significant gaps in their learning and plan, an immediate challenge arises. Trainees development. Trainees often are anxious neither develop along a straight path, nor about being in the role of director. The move forward at the same tempo as everyone apparent absence of a plan may fuel this else. In this sense, every training group is anxiety. In response to a lack of leadership, a multi-level training group, and a training a training group may revert to Bion’s (1961) plan is designed with this in mind. The plan ‘basic assumption’ mode, and become needs to have sufficient flexibility built in to immobilised by dependence, torn apart by allow deviations from a linear route towards fight/flight, or seek salvation in pairing. completion of requirements.

The trainer displays respect for the trainee in considering the trainee’s readiness to learn about a particular matter or develop a certain

ANZPA Journal No.11 December 2002 71 role. This respect enhances a warm-up to in the hands of workers who often have only adult-to-adult functioning in both trainer and minimal training. The workers who remain trainees. in the institutions face a higher concentration of highly disturbed clientele. Demoralisation Also as James Masterson (1988:208) states: and burnout take their toll. The implications “Not all individuals have the same capacity for our training programs include an for creativity, of course, since it, like all increasing emphasis on safe practice, and on other capacities, is a product of both nature recognising the fragmenting roles that are and nurture, of genetic inheritance and associated with psychosis, severe depression, developmental encouragement”. or suicide potential. Psychodrama is a vehicle to greater self-expression. However, Flexibility it is essential to see the method also as a vehicle for containment! This is especially so Rigidity in holding on to a training plan in relation to working with those people who is contrary to the spirit of spontaneity and have been diagnosed as having a ‘personality creativity, and does not take into account the disorder’. warm-up or ability of the individual trainee or the training group. I picture cloned units, Psychodrama is a method par excellence identical and ‘correct’ directors, technically that assists trainees and practitioners to rise perfect but without a soul, would emerge to the challenge of working with disturbed in response to this rigidity. Trainees with individuals. In psychodrama a ‘problem’ is an obsessive streak in their make-up might re-framed as a ‘challenge to creativity’. A feel reassured by a tight program, but ‘problem’ orientation can lead to headaches their entrenched coping strategy remains and is joyless, however a ‘challenge to unchallenged. Flexibility is one of the key creativity’ is an invitation to live with zest aspects of spontaneity, and this helps a and vitality. trainer to adapt to the real needs of the trainee or group. Example

In individual supervision John has A Changing Culture complained of his lack of assertiveness when faced with competition, and There are further reasons to emphasise the impact on his development as a flexibility in the training program. Flexibility psychodrama director. In supervision is of high value in processes involving change. the work proceeds at a slow pace and Psychodrama training takes place in a culture has a lacklustre quality, since John has that is changing rapidly. Many public as well difficulty with getting in touch with as private organisations face under-funding or his feelings. In the training group an relentless bouts of ‘restructuring’. More than unexpected ‘golden moment’ arrives. ever the phrase ‘ongoing change is here to Prior to the training session John has stay’ seems to apply. resolved that this night he will put himself forward as Director. As it turns In the mental health field, large numbers out, a number of people express their of disturbed and/or distressed people are wish for the evening before he does, kept out of institutions, and referred to and someone else ends up directing. ‘community care’. This means they are left

72 ANZPA Journal No.11 December 2002 Psychodrama training involves more After a break, John suddenly bursts than learning a set of skills or mastering out in tears and says: “This is how it techniques. Training is based on the always goes, I always wait and then understanding that roles gradually develop, someone runs with the ball before and must be tested through practice in order I have even blinked, I am so sick of to be strengthened and integrated. This takes this!” He ends up being a protagonist time and commitment. The techniques can in a brief drama in which he confronts be taught in a weekend; the integration takes the forces that are holding him back. years. Some trainees new to training expect The next training session, a week later, to learn a set of ‘quick tricks’. Some don’t he is the first one to speak. last long when they discover they need to turn themselves inside out and upside-down The above demonstrates that John’s in order to develop as psychodramatists. most effective work takes place when Others rise to the challenge and commit to an he is in touch with his experience. ongoing training process. These experiences are less likely to be generated in a one-to-one session, Carl Hollander (1969) noticed the same thing: since there is no actual competition in “All too often neophytes to psychodrama this setting. It took the ‘here and now’ falsely assume from a few sessions that they event in the training group, which are adequately prepared to direct others in involved competition, for John to truly psychodrama”. warm up to wanting to change. Evolving Ideas

Training is based on a developmental My ideas about education and training are model in which the trainee is recognised evolving. In my early days of being a trainer as a dynamic entity, whose learning I was more likely to focus on the ‘right way’ requirements evolve of doing things. My understanding has deepened and now I regard training as a Developing a new role takes time. To develop developmental and transformational process. a whole set of new roles and integrate these As a result I am much more focused on the into professional practice and daily life takes consciousness and immediate experience years. of a trainee director, and the roles and role- relationships that come forward. We live in a society that is imbued with the values of instant gratification. Holiday now Grace Kennedy (2000: 9-12) contrasts three – pay later. Something doesn’t work? Throw different educational approaches: it out. Are you in emotional pain? Take a pill. Much of marketing and advertising not only • Transmission stimulates but also cashes in on this trend. One particular training course I saw offered, The student is seen as an empty vessel that promised ‘master-practitioner’ status after needs to be filled. A good example of a only 30 days of training. proper application of this model is in driver education where a series of competencies have to be mastered. However, it does little

ANZPA Journal No.11 December 2002 73 to assist people to value themselves, or how the vulnerability of the protagonist when to be reflective and then active in the world. this vulnerability has been personally experienced. • Transaction When a trainee is highly warmed-up to Reform in education led to education being personal concerns then this does not need to seen as an interactive process between be in conflict with the purpose of the training the students and the curriculum. An group. In fact, a trainer can take advantage attempt is made to link the material to from a trainee’s warm-up. When personal the developmental ability of the student. and professional development are seen as Still, these ideas attend only to cognitive complementary to each other, a link can be development. made between the emerging concern of the trainee as protagonist and how this relates • Transformation to professional roles, and thus a professional training focus is maintained. The student is seen as central, positive, purposive, active and involved in organising There are occasions when a trainee has a life experiences. The experience of the learner great deal of personal work to do. This has is primary and choice, creativity, values the potential to dominate the group or hold and self-realisation are central. There is an a trainee back from advancing. On a few orientation to social change and reflection occasions I have suggested to a trainee that upon one’s actions. he or she enter into personal therapy, or take part in one or more personal development Psychodrama training is in harmony with workshops. This highlights the notion that the third approach: transformation. The not all role development needs to take place intensity and personal challenge inherent in the training group itself. Indeed, some is in the training process often does lead to better done elsewhere. transformation. Example

Mary has been in training for several Role Development years. She struggles to find her voice in the sense that she speaks softly and demurely. Despite doing several Role development is central to training. dramas with a focus on resolving this Personal growth is a by-product of struggle she still does not breathe professional development. Much role properly or uses the full strength of her development takes place in the course of voice. This hinders her whenever she is training. There is a significant advantage in auxiliary or director roles. I suggest in trainees becoming familiar with the she does singing lessons or, since she role of protagonist and getting a first hand belongs to a church, joins the choir. As experience. Learning through experience her trainer I am keen to see her find means that new material can immediately her voice. begin to be integrated. A beginning director is more likely to be sensitive to

74 ANZPA Journal No.11 December 2002 To become an effective director of Attempting to address unresolved psychodrama, an aspiring director needs intra-psychic conflict, in her case to develop the ability to function in a had led to ‘going around in circles’. great number of roles, love life, and have Joining the choir proved more effective. a genuine interest in human beings. There At choir practice she was, after all, is an assumption that certain professional surrounded by dozens of ’supportive roles have already been developed, or will be doubles’, and this had the effect of her developed, through tertiary study. feeling more accepting of herself in her effort to find her voice. The work could Further role development initially takes place be done through play. through functioning as a group member, protagonist or auxiliary. This is taken into The curriculum has an emphasis on account when a curriculum is developed. experiential learning which promotes The Christchurch staff collaborated in the integration of experience with developing our curriculum over the course of theoretical concepts and practical several days. ability Curriculum Whereas in order to develop as a psychodramatist it is essential to read the Year One literature or learn from lectures, this in itself cannot be enough. No one has ever obtained The first year has an emphasis on experience a driver license by watching someone and learning in the role of: else drive or attend a lecture on driving. Through being in the driver’s seat a person • Group member (to learn from self-display learns about what is not known or needs to and sociometry in action) be developed. Similarly, through actually directing a drama, a trainee will learn which • Auxiliary (to function and be facilitative in roles are well developed and which need a variety of roles) further development. The ‘director’s role’ is in fact a cluster of roles, and a director, in • Protagonist (to experience and develop the course of their training needs to become trust in the method) exceptionally flexible and adaptable in working with protagonists from all walks of The aim is that at the end of the first year all life. Learning from moment to moment in the trainees have had extensive experience of all actual ‘cauldron’ of a session, may counter three aspects, and have developed trust in a tendency toward intellectualisation or the psychodramatic process. distancing through objectification. Directing under supervision in front of one’s peers can Throughout training I refer to some be a challenging experience. The fact that the fundamental concepts in psychodrama. I trainee director is likely to be emotionally have increasingly come to see some of these aroused during a training session increases as essential in the early part of training. the likelihood that learning is integrated into These are: tele, sociometry, role theory and the whole being of the trainee. the social and cultural atom.

ANZPA Journal No.11 December 2002 75 I see these as four vital concepts that help and other dramatic interventions. The to provide a structure. Such a structure emerging identity of the psychodramatist can assist in the building of safety in the starts to be interwoven with the trainee’s early stages of a group, and can help in personal vision of his or her life’s purpose. making sense of the myriad of sometimes overwhelming and confusing experiences Year Four trainees may have. All four concepts relate to roles within relationships, and relationships Year four (and beyond) has an overall between roles. Consciousness of relationships focus on integrating the identity of the and roles within relationships are of vital psychodramatist, and refinement of practice. concern in the early development of a group, By this time the trainee will have written, or and can be used to immediate benefit in the is preparing to write, a social cultural atom building of a cohesive group. paper, as well as developing a thesis topic.

Year Two Further work at this stage involves strengthening a professional identity; greater The second year sees an increasing emphasis familiarisation with ANZPA’s code of ethics; on the role of the director. Having been deepening peer relationships; maintaining challenged to display him- or herself in authority in the presence of the trainer; the first year, the trainee can lead a group- further reading; and commitment to ongoing directed warm-up with greater awareness, personal and professional development, as sensitivity and effectiveness. Having been well as to supervision. Finally, the trainee trained in auxiliary roles the trainee director is prepares for assessment. more equipped to pay proper attention to the quality of auxiliary work by group members. Learning is enhanced when the process Having been a protagonist on a number and structure of training is based on the of occasions sensitises the trainee to the spirit of the psychodrama method experience of the protagonist. None of these beneficial effects is guaranteed. However, Selection of Trainees without these prior experiences a trainee director is more likely to function poorly (like In harmony with the spirit of psychodrama driving a car without a map). Psychodrama the Christchurch Institute is ‘inclusive’, and is an experiential method, and the training is in principle welcomes trainees from many experiential training. Personal experiences of different backgrounds. Prospective trainees the method are part of the unfolding map. are invited to a training interview, during which clarity is gained about the suitability Years Two and Three of a training program for a particular person. It is assumed the trainee possesses, or is The second and third years include teaching working toward, a degree or equivalent and training in role training, sociodrama qualification in their chosen field. and sociometry. The term ‘psychodrama’ is now used generically to describe these sub- Discontinuance of Training modalities. Trainees have experiences of role training and sociodrama, and refine their Experience over the years has shown that a understanding and application of sociometry good number of trainees will dip in and out

76 ANZPA Journal No.11 December 2002 of training. Whilst some trainees have good • Warm up reason to interrupt or cease training, for others it has meant ending up as ‘chronically In the Core Curriculum Group I am likely advanced’, meaning that he or she is treading to opt for a director-directed warm-up. In water but not making real headway in the the Advanced group I work more with a swim toward certification. The Christchurch group-directed warm-up, since staying with Institute has responded to this development director-directed warm-ups would encourage by attempting to forge stronger relationships early dependency dynamics to persist. with trainees who come and go. We have Advanced trainees can benefit from running abolished the notion of ‘terms’ in our complete sessions, and this may involve training program, and have warmed the facilitating a group-directed warm-up too. trainees up to enrolling for the whole year. However, enrolment for a ‘term’ is still • Action possible in exceptional circumstances. A typical scenario involves a trainee director Ongoing Assessment working with a protagonist. As the trainer/ supervisor I take notes. The timing and Trainers make ongoing appraisals by nature of my interventions depend on the noticing the functioning of a trainee at every developmental level of the trainee director, opportunity. The appraisal is based on and the contract for supervision that is observations of the functioning of the trainee established at the start. With a trainee ready as a director, auxiliary, protagonist and group to function more independently I may member. Any assessment is further enriched not intervene during the session (unless it through what transpires from a trainee’s looks like the protagonist could be harmed writing assignments. through incompetence or neglect), and save my comments for the processing session. The trainee’s ability to self-evaluate is Alternatively, I may intervene throughout, valued and respected, and some form of self- and use what occurs as ‘grist for the mill’. appraisal is part of most training sessions. I will use doubling, mirroring, modelling, concretisation or whatever else may be useful The trainee’s role in social events, an in raising the trainee director’s spontaneity Open Day, ANZPA branch meetings, and and effectiveness. functioning within the community at large, provides further material for reflection and • Sharing ongoing assessment. This phase involves the group members Three times each year every trainee is relating to the protagonist personally and reviewed in a meeting of training staff, where with emotional involvement. The purpose assessments are shared and processed. is to connect the protagonist with the group again in ordinary, here-and-now time, and Structure of a Training Session for group members to express something of their experience to the protagonist. During A ‘typical’ training session has the following this sharing phase trainee directors are format: encouraged to maintain their functioning as a director. Sharing time often offers excellent

ANZPA Journal No.11 December 2002 77 opportunities for integration of new learning, • Trainee directors assess their own and so the benefits of the earlier drama can functioning. We engage in a discussion be maximised. about the rationale for choices in direction and techniques used, including the A second round of sharing, this time with exploration of alternatives. Sometimes the director, helps trainees to shift from trainees have a good appreciation of their identification with the protagonist to strengths and weaknesses in their identification with the director, and brings functioning. If a trainee can identify an the trainee director back into the group as a area of functioning that needs attention, group member. This process helps trainees then this is preferable to me pointing it to shift from a protagonist-centred focus out. As Goldman and Morrison (1984:95) to a director-centred focus, and thereby observe: “when the neophyte director is smoothing the transition to the next stage. aware of the missed cue or mistake before being told, he/she is less likely to repeat • Processing that error”.

At times I have found it useful to have a • The group members may ask specific short break between the sharing and the questions about a scene, dramatic processing. The break helps trainees to technique, or another intervention. make the shift from sharing to processing. Auxiliary work may be explored and Processing involves the trainee director, the refined. I encourage trainees to come up protagonist, the auxiliaries and the group with some of their own answers. Activities members. I avoid the word ‘supervision’ for may involve re-playing part of a scene, this activity, as I see this term more fitting and trying out alternative interventions. with the overseeing of actual work done This can be an ideal time for mini- outside of the training group. teaching sessions or the introduction of a training exercise that involves all group • Comments from the protagonist are members. valued for the immediate feedback it provides for the trainee director. I • I will give a general appraisal of the work discourage situations in which the done. I will highlight the strengths that protagonist is involved in extended were displayed. When it comes to discussions of the therapeutic on problematic areas in the effectiveness of the drama. Too much trainee’s functioning I tend to comment on evaluation too soon, can take the one area only. More is not necessarily protagonist away from their recent better, and the trainee cannot learn when experience, and runs the risk of turning feeling overwhelmed. into an overly analytic session. If there is a need to discuss the more personally When trainers and training institutes therapeutic aspects of the drama, or when relate to a larger system, the effect is the experience has been especially greater accountability and cohesion profound for the protagonist, then that person has the option of not being present The Christchurch Institute is part of and for this part of the session. relates to a larger system. Under the auspices of the ANZPA Board of Examiners, a

78 ANZPA Journal No.11 December 2002 number of training institutes have sprung REFERENCES: up throughout Australia and New Zealand. The Board of Examiners has the task to Bion, W. (1961) Experiences in Groups, Social ensure staff appointments are appropriate Science Paperbacks, London. and affirms the need for, and supports, ongoing staff development. Most of the staff ANZPA Board of Examiners, Training and of the New Zealand training institutes meet Standards Manual, August 1993. once or twice a year in ‘trainer development workshops’, as well as a yearly meeting of Consedine, R. and J. (2001) Healing Our the Federation of NZ Training Institutes. History – the Challenge of the Treaty of Waitangi, These meetings have led to the development Penguin Books, Albany, Auckland. of a greater cohesion between the training centres, and between the staff from different Goldman, D. and Morrison, D. (1984) regions. The continuing interchange has Psychodrama: Experience and Process, Kendall/ made training efforts throughout New Hunt Publishing Company, Dubuque, Iowa. Zealand better co-ordinated and more unified. The yearly ANZPA conference is Hollander, C. (1969) The Hollander another venue for contact, and promotes Psychodrama Curve: A Process for Psychodrama interchange between New Zealand and Training, Evergreen Press, Denver. Australian colleagues. Unified training efforts are further supported by the fact Kennedy, G. (2000) A Psychodramatist in the that all training institutes subscribe to the Classroom in ANZPA Journal no.9. ANZPA Code of Ethics, and have the ANZPA Training and Standards Manual as a point of reference and inspiration. Masterton, J.F. (1988) Search for the Real Self, The Free Press, a Division of Macmillan Inc., New York. The Christchurch Institute has also developed a functional relationship with the local ANZPA Branch, to the extent that Moreno, J.L. (1993) Who Shall Survive, some events are organised jointly, such as Foundations of Sociometry, Group a ‘psychodrama community gathering’, or and Sociodrama, Student Edition, Royal an ‘open day’ for the public. Institute staff Publishing Company Roanoke, Virginia. are also involved with ‘outreach activities’ such as providing speakers or facilitators Paul can be contacted by email on: for the conferences or meetings of other [email protected] organisations.

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