Gestalt therapy exercises. Petrova E. — Selected exercises for working in groups Tasks for “warming up” the group and developing contact experience

Application of Gestalt Therapy Gestalt therapy is traditionally considered as the most effective method of treating “overly normative, socially constrained, reserved individuals” (that is, anxious, phobic, depressed patients and individuals prone to

Translation from children's or princess game

(based on site materials: http://Gestalt.ru)

In English-language texts that I had to translate, edit or simply read, the expression “to meet one’s need” is often found. As life shows, awareness of one’s need is not such a simple matter. And if an adult, when he wants something, but it is not clear what exactly, can turn to his experience, to various memories, analyze his feelings, what is happening to him, or consciously use the “trial and error” method, then For a child everything is much more complicated.

A 2-3 year old child says “I want,” and parents perceive them with joy or anxiety, assuming some conscious, adult choice behind this. Often these words turn out to be just words denoting the presence of a desire, not its content itself. It should be noted in parentheses that adults respond to the child’s wishes very differently. For some parents, the child’s words “I want” evoke pride and joy, because, they say, what kind of adult the person has become, he knows what he wants. For other parents, this can cause tension, fear, even panic: will they be able to satisfy these desires, will they have enough strength and money to get the desired moon? Here are, for example, several possible reactions of parents to the child’s words “I want”:

I am proud of my son because he decides for himself what to do and you can come to an agreement with him (my son is 2.5 years old)

I get scared when my daughter starts talking about her desires: children's attractions, toys, I'm afraid that I won't be able to buy her what she asks for, I feel worthless, unsuccessful, I try to run past the kiosks as quickly as possible, shop windows...Her desires are becoming dangerous for me (4 year old girl).

It only irritates me when a child, and not just mine, starts whining and demanding: I want this, I want that. The child does not yet have and cannot have any rights to want something. He has someone to solve his problems (the boy is 6 years old).

What feelings, what reactions the child’s desires evoke in others - that is, his direct statement of his needs - largely determines the way the child deals with his desires. He can see them or hide them, ignore them, get scared, feel ashamed.

A child is not able to recognize the content of his need until he meets it, until he experiences satisfaction, until he recognizes a situation in which he feels good, until he identifies in his mind an object, person or relationship that brings pleasure, and thus will not become acquainted with his desire. His feelings tell him that he wants something, something is missing. Tension, discomfort, and anxiety arise in the body. The child glances at some object - yeah, this is what I need, this is what I was missing, without this car, doll, candy, grandmother, boy, dog, I feel so bad! Or he remembers some past situation when it was good, and tries to return to it or reproduce it in the current moment. It’s good if this coincides with the child’s real desire, then satisfaction and a meeting with one’s need, recognition and appropriation of the experience gained actually occurs. It’s much worse if in fact the desire was different. Then the child receives the desired dog, grandmother, candy, but dissatisfaction remains. Tension and irritation remain, which breaks through well-being through tears, screaming, resentment or other means. And then adults begin to complain about whims. It is interesting to consider this situation from the point of view of disruption of contact between the child and the outside world.

When adults recall some episodes of their childhood, in groups or in individual therapy, associated with whims, they often say that the very desire to get something or go somewhere was very strong, clear, precise. There was a very bright figure in my mind - I wanted exactly this and only this, everything else was a faded and blurry background. The adults recalled another common feature: in this situation, only another strong and powerful person, like a wizard or a giant, could give the desired thing. Of course, if you see the situation from the child’s point of view, then in his life there really is a moment when the child just wants something, shows it with a sign, a gesture, a voice, sometimes words, and his almighty assistant or patron guesses and fulfills this desire. One has only to want to eat - and it’s already sweet in the mouth, to want a toy - and it’s already in one’s hands. Almost like in a fairy tale - you rubbed the lamp and the genie brought the palace and everything you wanted. Or you wave a magic wand, lay out a self-assembled tablecloth - and you are full and satisfied. And then suddenly something goes wrong in the magic lamp, you tell it - I want it, and the genie, that is, the parent, responds - himself, please. It’s a shame to the point of tears, what to do is not clear, how to explain is unknown, and the former lord of genies and wizards has to become acquainted with prosaic reality. So it is no coincidence that people recalled the very strong feeling of resentment that arose in such situations against adults who “slipped in” something insignificant just to calm the child down or get rid of him. In this case, meeting one’s needs never happened, and the child developed the experience that saying “I want this” is indecent, shameful, meaningless or dangerous. If such an experience came early enough, then adults could hardly remember their childhood desires, but said:

I was a very comfortable child. I don’t remember asking for anything special, I just wanted what I needed.

There was no recognition of the need, and in these cases, more or less rigid introjects took the place of desires. However, genuine unrecognized desires, which the child missed, remain and make themselves felt with a feeling of dissatisfaction, resentment, disappointment, irritation or anger. Children develop a certain way of dealing with their desires and avoiding meeting them, which often leads to situations that require special efforts, for example, the intervention of a psychologist or psychotherapist.

In therapy and counseling, we encounter cases where a child experiences desires, but is not aware of them, and does not have effective ways to deal with his desires. In this case, the necessary, and sometimes the main, content of the work is to identify the child’s true desire, hidden behind obedience, indifference or violent whim. Our work was similar to translating the cry “I want the moon” from a child’s language into a parent’s language. And the “princess game” turned out to be a good method of working.

Mom brought in a 5-year-old girl, Olya, with complaints about her uncontrollability, hysterics, and whims “out of nowhere.” As a result, interaction with her daughter turned into torture and the mother already avoided such moments in every possible way, sending her daughter to her grandmother, and tried to communicate with the girl in the presence of strangers. In this mood, the mother did not want to join in the classes; she brought the girl and waited in the next room or went about her business.

At one of the sessions, I invited Olya to play “princess”. She agreed. We chose a magic pebble that could fulfill all wishes. She named sweets, then toys, listing them in a rather monotonous, boring tone. When I drew them on paper, she looked without much interest, and once condescendingly remarked:

Anyway, none of this really exists. Then the girl suddenly said:

And I also want there to be a horse.

I draw the same conventional horse as all previous objects. But suddenly Olya was more interested in this drawing, looked attentively and clarified:

She must have strong legs so she can run and jump quickly.

I begin to refine the drawing, Olya moves closer and clarifies where and what else needs to be completed with obvious interest. Then we draw the grass, the road, then Olya says that we actually need other horses. Her mood improves, her usual sad grimace is replaced by a smile. I'm asking:

What are you going to do here?

I will also run, jump, jump and somersault. *

Do you like it?

Where can you run?

You can’t go home - your voice again becomes boring and hopeless. At this moment there is a meeting of desire with reality, which makes it impossible. And the experience that arises at this moment can be quite acute, it can contain sadness and anger. It is important for a child to encounter the sincere and honest presence of an adult.

Indeed, it can be disgusting and offensive when you want to jump, run, but you just can’t.

Decent girls don’t jump - And again in her own voice - Mom gets angry when I play around at home.

Where can you find a place where you can jump and so that your mother won’t get angry?

We begin to look through such places, and since in front of us there is a drawing in which horses are galloping on the grass and roads, Olya quickly suggests a children’s playground in front of the house. The important thing here is that the child already has the necessary knowledge about those places, those conditions where his needs can be satisfied. The therapist's support is necessary to update this knowledge and overcome the feeling of hopelessness and inability to satisfy one's desires.

In the remaining time, we discuss how great and important it is to run and jump with other children, even if you are a girl, and how you can talk to your mother so that she understands this and allows you to run.

A 5-year-old child has enough experience when he wants something, he talks about it, and gets nothing. The reality is presented to him as quite hopeless. Sometimes this is caused by real circumstances, when a child wants the moon from the sky or wants to swim in a river now in winter, and even the most loving parent is not able to bring back summer, sincerely feeling guilty about this. Sometimes this is the result of interaction with close adults who, for one reason or another, cannot delve into the child’s condition; they say “no, it’s not allowed” and that’s where the conversation ends. Therefore, the child needs a certain positive experience of recognition and the opportunity to satisfy his desires.

The sequence of steps in the game “Princess” can be as follows:

1. Introduction to the game. Explaining the terms of the game, emphasizing the importance of the words “I want.” Start of the game: discussion of the castle or palace, environment, etc. - creating a gaming atmosphere.

2. Introduction of a “magical friend” - an intermediary who fulfills the child’s wishes. This is especially important when parents are involved in the game. The magical mediator allows parents to overcome resistance to the child's orders. It is the magical agent who obeys the child and fulfills his wishes, rather than the parent, who can easily become embroiled in a power struggle with the child.

These two steps correspond to the pre-contact stage and allow you to create space for the subsequent need figure to arise.

3. The child expresses desires and draws the desired objects schematically. At this stage, it is important to give space for the child to express any desires and not show any feelings, so as not to repeat the traumatic reaction of adults to his child.

desires. Any most fantastic desires are accepted and fulfilled on a piece of paper. Mountain of Snickers - draw a mountain of Snickers. Horse - draw a horse. So that everyone dies on the same day, we draw a row of graves. Another important point is accuracy; we draw only what was named, without bringing our own vision and additional adult experience.

4. The child clarifies the details of the desired object. An important point in the work, which allows you to determine which characteristics of the desired object are significant and relevant for the child, what quality of the object makes it necessary, attractive to the child, what its current need may be associated with. So, the child says that he wants a dog. I draw something with a tail on four legs with ears and a black nose, such a dog in general, and then it turns out that the dog should be BIG, STRONG and SCARY, or FLUFFY, SOFT and KIND, or FUN and FUNNY, because the dog is needed to SCARE or PROTECT in order to CARE or PLAY. If this is really what you want, then certain qualities and certain actions are important for the child, and he intervenes in the drawing process and begins to correct, clarify or object, and thus leads us to a more accurate understanding of his needs.

These steps allow you to explore the surrounding reality and build a figure of the object of need.

5. Finding out the actions that the child wants to do in the situation he named or with the object he named. If this is a mountain of Snickers, then maybe you want to eat it, maybe treat your friends, maybe delight them with your wealth, or maybe build a house out of blocks.

An important step that brings you closer to a real life situation and to the actions that a child can carry out.

6. Transition to reality - where this desire can come true in the child’s real life situation and how this can be achieved.

The desires that children had and how they transformed during the game were sometimes completely unexpected. In another case, the same horse was a means of getting to the grandmother, and at the end of the work it turned out that it was quite possible to call the grandmother, because the mother could not take her to her, but the mother, as the child himself remembered, knew how to dial the phone number. The desire to go to Africa, as the 10-year-old boy well understood, was completely hopeless, concealed behind it the desire to go to the neighboring yard and the fear of doing it alone and the desire to make friends in a new unfamiliar place where the family had recently moved. In the game, it turned out that the older brother is quite suitable for going to the neighboring yard, and you can also make friends with the kids, who are very interested in listening to the stories that the boy was great at composing and telling. A sufficiently detailed discussion of various objects and situations paves a new way to explore the environment and gives the child a suitable way of interacting with reality.

Another option for using this game seems interesting. In this case, the main work was carried out by the mother, who had enough imagination and sensitivity to carry out this game on her own. A mother sought advice regarding the whims of her 5-year-old daughter and recommendations for the “correct” methods of teaching modesty and decency. The girl's immodesty and capriciousness was manifested in her constant attempts to dress up, decorate herself, attract the attention of adults to her appearance, touchiness and temper. The girl’s mother was worried that the child’s spirituality would not develop in this way and reacted to this behavior by strictly reprimanding the girl, explaining to her the unworthiness of such behavior. At the time of our meeting, the girl did not ask for new outfits or jewelry, but she could not resist showing off. During the conversation, it turned out that at night the girl was tormented by a strong cough, which prevented her from sleeping and which, according to the pediatrician, was not caused by a cold or an allergic reaction of the body. In that night's cough there was a retroflexed statement of her desires, which was too dangerous to express directly, because mother's rejection of these desires was too obvious.

This is what happened during the game of Princess. Mom invites the girl to play princess:

You will be a little princess, this will be your palace, your friends will be here.

The girl agrees to play with great interest. They discuss what kind of palace she has, where the princess’s room is, who else lives in the palace. Then mom says that in addition to ordinary people, there is also a magic ram living in the palace (it was a children's plastic toy that caught my mom's eye by accident). This ram knows how to fulfill any of your desires, you just need to say: “I want” - and everything will come true.

The girl begins to play with pleasure, becoming more and more interested. At first she lists the things that were desirable for her, but her mother, remembering the conditions of the game, agreed and only asked what else. With each new “I want,” the girl’s voice sounded more confident, more energetic, her face became more relaxed, more cheerful. And to her mother’s great surprise, after a few minutes the girl suggested what the ram would do not only for her, but also for her friends, for her grandmother. After some time of very intense play, the girl said that the ram was tired, put him under the blanket and continued to play and discuss with her mother what else she would like to do. For another three or four days she walked around hugging this ram, putting him to bed with her, but after that the night cough decreased greatly and the tension between daughter and mother began to decrease.

The first wishes that were voiced were already known to the child, familiar, familiar. Those that arose later were new, unexpected for both the daughter and the mother, they had a lot of energy, they aroused interest, and gave energy for the development of action.

After the “forbidden” desires to have something for oneself were presented, the tension associated with stopping the expression of these desires decreased and space was freed up for other desires that were accepted by the mother. The muscles of the larynx no longer had to contract to hold the words “I want,” and the tension that manifested itself in the nightly uncontrollable cough went away. The natural development of the contact cycle was restored, the girl was able to assimilate this new experience and transfer it to other, non-game situations of communication with her mother. The feeling of resentment went away, and a calm pleasure from the game and from communication appeared.

In conclusion, here are the main stages of working with desires:
Talk about desires, the importance of expressing your desires.
Exploring the environment, highlighting desires
Recognition of the subject of need, awareness of the need
Meeting with reality, experiencing the possibility or impossibility of fulfilling a desire.
Selection and discussion of a real method of action that is adequate to the situation.

The psychotherapeutic content of working with the whims and desires of the impossible consists of searching for a child’s actual significant need, meeting the need, accepting one’s need, finding a way to satisfy this need and exploring the environment and its resources to satisfy this need.

The cycle of contact is interrupted at the level of awareness of desire. In a therapy session, the child receives an important new emotional experience of safely presenting his desires in communication with an adult, accepting his desires, and thanks to this he can move on to the stage of scanning - exploring the environment in order to find the necessary object and deploy retroflexed actions: turning to someone for help, some independent movements or actions. In this way, the child makes a creative adaptation and not only becomes familiar with his need, but also develops a new way to satisfy his need. As a result, the child gains a positive experience of meeting his needs, feels confident and competent in contact with the surrounding reality.

Preface (from the compiler)

To be honest, it seems to me that all the words have been written a long time ago. And cluttering the world with new texts is something like upsetting the ecological balance. Kind of like littering the streets of a big city with pieces of paper. In this sense, the proposed project has no value. On the other hand, when reading smart books, I still catch myself with the heretical thought of making notes, memorizing successful “moves” for exercises. This crazy effect is especially intensified during the period of preparation for conducting group classes in Gestalt therapy with unfamiliar groups. I always try my best. And I carefully think through the instructions in advance. True, as everyone knows, “homemade preparations” have never been used before, but they add peace of mind.

So I decided to look into my notebooks and notes, and collect some instructions in the form of a “workbook” as a keepsake. It's hard to say now. Who is the true author of most of these tasks. Sometimes it seems to me that they are simply hanging in the psychological air, and our job is simply to scoop them up and use them. About some of them, I know for sure that I came up with them myself. But this gives absolutely no guarantee of their authenticity. Often a thought is so banal, or so beautiful, that it comes into a large number of heads at the same time. Moreover, where is the guarantee that “born in pain” is not simply a reproduction of something previously heard and then well forgotten? However, I plan to honestly label those experiments that I believe are "publicly known" and those that I believe have a first-time author.

The number of tasks is clearly excessive, since this is not a teaching aid, but a catalogue. Probably none of them can be used "in their pure form", but perhaps they will spark someone's imagination into creativity. In general, for those who like it - bon appetit!!!

Elena Petrova, St. Petersburg, September 2000

"Kingdom"

1. Introduction. The trainer explains that this is a very simple game that people of all ages and abilities can enjoy playing. It does not require any special skills or training from participants. The whole group participates in the Kingdom game, but each participant will be able to choose and create a position for themselves in this game and try to play a role in it. This is not a discussion. It is enough just to give preliminary information, but not a discussion about what has not yet happened.

2. Structuring the group. The coach invites one volunteer from the group to take on the role of king or queen. The next step is for the King and Queen to select three or four first-ranking people from the group and appoint them Ministers, Generals, Servants, Princesses, Princes and so on. Each of these chosen people in turn selects one or two characters and gives them their respective roles. The number of elections depends on the size of the group - if the group is less than 20 people, then the optimal number of elections for the King will be three (that is, the King can appoint three people). Accordingly, the first elected can nominate two people each, who in turn can choose one person each. It is important that all participants get roles. After this, you should place the “kingdom” in space and ask the people themselves, one by one, to name the roles they have accepted, so that all participants in the game can see the initial structure of their state.

3. Action 1. Each participant is given a chance to change something in the “Kingdom.” A participant in the game can make any changes at his own discretion: change someone’s position in the state, promote or demote someone in the state hierarchy, “kill” or “imprison” one any person. It goes something like this: “I appoint the First Minister as a Servant!” and the person is included in this role. It is very important to clarify the changes that occur after each such step. After all players have made their “moves,” each participant again names their new role so that it becomes obvious how the structure of the state has changed.

4. Action 2. Each player is given another chance to change their role in the Kingdom, following the same rules. After this, the structure of the state was finally established.

5. Discussion. In the discussion, the trainer draws the attention of the participants to the fact that some have maintained their role, others have lowered or increased their position or the position of their partners. The trainer then offers to compare the experience gained in the game with real-life situations and raises the question of the possibilities of social change. (Daniil Khlomov)

"Old Abandoned Store"

Exercise using imagination, guided fantasy. When performing it, participants can touch those aspects of their personality that were not previously realized.

“Imagine walking down a city street late at night. What do you see, hear, feel? You notice a small side street where there is an old abandoned store. Its windows are dirty and dusty. But if you look through these windows, you may notice some object. Look at it carefully. Move away from the abandoned store, walk until you return to the city."

In pairs or small groups, describe this object you found outside the windows of an abandoned store. Then speak on behalf of that subject, in the first person. How do you feel? Why were you left in the store? Who left you? What is your existence like as this subject?

After a few minutes, “become yourself” and mentally return to the same city. Approach the store and look at the item in the window again. Do you see anything new in it? Is there anything you want to say to him? (By John Stevens)

Option 1. “Imagine that you are walking through a large old city. Maybe this is a city you know, or an imaginary one. You may find an object on the street, take it with you.”

Option 2. (“Magic Shop”) You are a tourist, on an excursion you find the “Magic Souvenir Shop”. Enter the room and look around. The first room contains antique furniture, paintings, lamps, chandeliers, mirrors. In another room you see antique dishes, carpets, and utensils. In a separate showcase are dolls, exotic shells, souvenirs from exotic countries. And in the back there is a small room where the treasures of the second-hand bookstore are. Some interesting object will attract your attention. You understand that this is a souvenir, this item is for you.

Working with projections

In the group, choose one from among the toys. Hold it in your hands, “get used to it. Then say a few words on her behalf. These words may reflect feelings that you are rejecting right now.

After this, return the toy to the floor and watch it. How she feels among other objects. What kind of relationship does she have with these toys (suggested by F. Perls).

Tasks to “warm up” the group and develop contact experience

1. The group is divided in half, two ranks stand opposite each other. In pairs, opposite each other, participants push each other, placing palm against palm. Then they try to win the second one over to their side. Try to knock someone else down. Pull the second one into place (switch places with him). After each change of tasks, participants move in a line of one person to create new pairs. Discuss which actions were more successful, what strategies were used in different tasks.

2. In two ranks - at the command of the leader, move towards each other and non-verbally greet the other. After each contact, move the line one step. In each new test, use a new form of greeting.

3. In two ranks. At the leader’s command, “contact” different parts of the body.” The first time hands meet, the second time their backs meet, the third time their legs meet, the fourth time their noses meet, and so on... After each contact, the pairs change.

4. Stand opposite each other as a couple or sit comfortably so that your hands can meet. Close your eyes. At the command of the leader, your hands will first find (1) each other, then (2) get to know each other, (3) show sympathy, (4) dance, (5) fight, (6) make peace, (7) say goodbye. The task takes 5–7 minutes in total. Discuss feelings at different stages.

5. Stand opposite each other as a pair. Give your hands a chance to meet. Without spreading your palms, make several contact tests. First contact test: You are active, your partner is completely passive, does not shy away from contact, does not show initiative, does not make independent movements (like wax). The second test of contact - you are active, the partner is active, but does not show initiative, and only makes movements following your movements. Third test of contact: you are active, your partner is active, makes movements, opposing any of your movements. Fourth test: The partner is active, you oppose any of his movements. Fifth test: you are passive, your partner is active. Discuss your feelings, which role was more difficult, which role seemed familiar.

6. In a pair, stand with your hands outstretched, palm to palm, but without bringing them together, leaving a 5 mm gap between your palms. Your partner begins to move. Try to follow him without changing the distance between your palms.

7. “Mirror - 1.” Position yourself opposite your partner. Within 5 minutes, copy exactly the pose and breathing rhythm of your partner. Then the partner starts talking for 5 minutes, you listen and continue to copy. Then sit in his place and continue speaking, copying his posture and manner of speaking.

8. "Mirror - 3". In a pair, one of the partners moves freely for 5 minutes. You watch him and then show him himself. Repeating the main stages and forms of its movement. Discuss the feelings that arise when observing such an “abbreviated” reproduction.

9. "Mirror in Motion" Two people stand one behind the other at a distance of three steps. The first one begins to move freely and explores the space. The second follows him, repeating all his movements, for 15 minutes. Swap roles. It is advisable to perform this task in a space where there are interesting objects or a complex landscape. For example, outdoors.

10. "Movement and Sound". The participants move freely in the room and each begin to sound in their own way. Then they find a couple, and without ceasing to “sound,” they tune in to each other. Next, the couples are united according to the same principle into groups of 4 people. As a result, the whole group stands in a circle and “sounds” without words. (According to Vadim Kanevsky)

11. “Sculptor and clay –1.” It seems that Perls came up with this experiment, but it is possible that he simply reworked one of the exercises in Charlotte Silver's training. Sculptor and clay. One of the partners becomes clay, that is, he is absolutely passive, silent and allows the other to do with his body whatever comes to mind. The “sculptor” begins to form a portrait of the person in front of him from “clay” with his hands, and informs him about this in words (an option is to sculpt something abstract). “The clay man listens silently, noting his experiences and fantasies”; After the experiment is completed, the experience is discussed, including the nature of the relationship between the sculptor and the clay.

12. "Sculptor and clay-2".(A) This is the preparatory stage: 3 minutes of observing each other, research and preparation. (B) The “sculptor” sculpts from the second one what he wants the second one to become, for example, to make him feel good, or some other wish and intention. (B) The resulting pose is a person standing or moving. Self-aware. Discussion of experience during work and experience of being in a constructed pose, expression of feelings, and communication of your understanding of the resulting poses, what is associated with life.

Let "A" make a sculpture of his fear from "B" with his hands, according to the sketch, without using his head. This will require imagination and resourcefulness. How, for example, to depict tentacles in pantomime. It is forbidden to use auxiliary objects for illustration - all the qualities of this creature must be shown by the body. After building a sculpture that can move, “A” describes to “B” how to act in order to harm humanity, rehearses. Let “B”, from the role of a terrible creature, slightly outline his actions in relation to “A”, touch him, but not with full force (the beginning of the opening of retroflection), and “A” will begin to play out his experience of being a victim. After this, let “A” himself play the role of his terrible creature, starting to copy with pantomime what “B” did in relation to some object - it is advisable to maintain the intensity and encourage variety in the motor and irrational (strange and unacceptable in everyday life) ) ways of contact, completing the impossible in the imagination (for example, tearing it down to atoms...), until a feeling of warmth and strength appears. Let “A” live in his imagination his fate, which is destined for him after contact (contact) with a frightening figure (“B” can trigger the fantasy by touching exactly in the appropriate places. Make sure that there are no additional initiatives from “B”). The result of this action may be relaxation that occurs after contact with one’s own terrible projection. (For example, a terrible alien ate every piece of our hero...) The total time of the experiment is 5-7 minutes.

The experiment is repeated in the same pair, with a change of roles.

After the research, the pair performs the following action: “Meeting aliens at the interplanetary station.” This is the final part. At first, everyone remains in their own pair. “A” and “B”, in the role of their terrible figures, contact each other only by the means that these figures have at their disposal. They interact freely, with physical contact. It is possible to temporarily switch roles in this contact (get to know each other). This part gradually turns into a pantomime game similar to a war dance. After that, everyone comes into contact with everyone. Completion in a circle - show your movement, the one you found thanks to this projection. Conclusion - discussion in pairs of experience, including the experience of unusual forms of contact that became available thanks to projection. Return to your intimidating figures, become aware of the movement, experiment with this movement as a new metaphor for “moving through life.” In the discussion, it is worth noting that it is possible to abandon the “attribution” of the initial projection and focus on new bodily and motor sensations and experiences, without assessing the meaning of “mystical associations”. Targeting is the appropriation of the vital energy of irrational projections and the elaboration of introjects that limit physical activity. (Elena Petrova).

Working with metaphor objects in a group

The group is located around a large number of different objects that usually play an everyday role. Participants are asked to choose an object from among those lying in front of them in the center of the group. “This object should symbolize in some sense your state and your experience at that moment.” Those who have chosen the same subject are united in small groups.

In a small group, talk about what specific material properties of this object illustrate or, by analogy, convey these features of your personal experience, “why it is you.” Make sure your description is accurate. Make sure that the integrity, that is, all the qualities and properties of the object, are reflected in mental reality. Be sure to note not only the “positive” features of the object, but also the “negative” ones. Other group members note and report their observations about how this task was completed, what was easy to say and what was difficult.

In the discussion, pay attention to the differences in projections. After this, do the next round of discussion. “What new things did you learn about yourself through the use of a metaphor-object, what material, functional properties of the metaphor allowed you to realize this in yourself” (Elena Petrova).

"Metaphors of Feelings"

Option 1. Group members are asked to describe themselves as a plant. Describe where it grows, what the environment is like, what kind of soil, what type, whether there are flowers, how it interacts with the sun, with the elements.

Option 2. Describe yourself as a natural element, some kind of phenomenon.

Working with irrational projections (projections of fear)

Children and sometimes adults are known to describe their experiences of “fear” in the form of terrible figures that bear little resemblance to reality. The very content of these images reflects something vital, pre-rational. They look like characters from childhood nightmares. At the same time, these images are “charged with energy.” The experiment makes it possible to come into contact with the “vital” components of irrational “horrible” fantasies.

A). Draw the most terrifying alien creature imaginable - as if you were a Hollywood horror movie designer

b). (in a circle). Tell us what she is like, this most terrible alien figure, what she does that is especially dangerous for humans. In the story, focus on how this figure moves and what exactly this figure does (spits poison, destroys with claws, and so on, ask what else he can do)

V). After this, choose a pair for yourself, where there will be participants “A” and “B”.

13. "Sounding sculpture." In pairs with an unfamiliar partner. Choose a passive or researcher role. The researcher stands from the back, passive - this is the environment, responds to the researcher’s movements with any sounds without words.

14. “Mirror group”. In a circle, one person shows movement. The whole group moves synchronously behind him, repeating the movement without falling behind. (This exercise can be used to warm up the group in the morning, in the form of a game with physical exercises).

16. “Group projection - 1.” The entire group constructs a group sculpture of itself: a vehicle. Each person, in turn, goes to the middle and names what kind of “car part” he is. Then it is attached to existing parts. Of course, the car can come out without wheels and with three steering wheels, this is quite possible. Let the resulting figure (vehicle) try to move and exist in space. After completing the experiment, discuss who took on what function and what functions remained “unclaimed.” How does this manifest itself in the life of the group?

(Instruction option: instead of a vehicle, an animal is created. During the discussion, you can pay attention to what this animal can do, what conditions are necessary for its existence, and so on).

17. "Africa". The group members imagine that they were all magically transported to Africa, with each one becoming either an animal, a plant, or an element of the landscape. Then the system can spontaneously organize itself, and each participant should try, in his role, to arrange his life in the most suitable way. The task is completed without words, within 5-7 minutes.

18. “Body conversation.” Work in a group of 3-4 people. Choose the part of your body that seems the most attractive, that you like. Make a presentation (similar to how a presentation of new products is made) for this part of the body. Listeners ask questions and express wishes. Then do the same in relation to the part of the body that you don’t like most about yourself (seems problematic).

19. (option). Together with a partner, make a presentation of a part of your body (rejected or approved). Your partner then makes a presentation of your body part to the public while you simply show it off.

20. “Dialogue between two parts of the body.” Work in pairs. Choose two parts of your body - your favorite and your least favorite, and organize a dialogue between these parts.

21. “I’m afraid, I want to.” Paired with a partner. 10 minutes of speaking phrases, each of which begins with the words “I’m afraid...”. There is no need to develop the topic. The partner maintains the pace of execution and does not allow speaking more than one phrase on each topic. After this, continue the monologue for 10 minutes, each phrase begins with “I want...”. Once completed, switch roles.

22. “Psychological store.” Imagine that you are walking in an unfamiliar city and find yourself in a magic shop. This is Psycholavka. People's personal qualities and abilities are sold here. And the currency here is also special. The owner of the shop accepts as payment those human qualities and abilities that seem valuable to him. You can try to barter something valuable for yourself in exchange for what you have in abundance, or what is left in the past, or what you are not sorry to part with. The seller in this store offers you something that may be useful to you in later life: courage, sensitivity, strength, health, career, friendship, success. He will ask for something in exchange. You can bargain. When completing this task, an experiment can be built in the real space of the group, in which case volunteers can become sellers.

"Working with Dreams"

Fritz Perls proposed the “identification with the dream image” technique for working with dreams. He suggested that the person working with his dream “play the role” of the character from the dream, move and speak on his behalf.

1. Tell the dream in the first person. Identify the most “energized” elements of sleep. Consistently identify with each “object” from the dream and pronounce a monologue. It is possible to organize a dialogue between dream elements. Find the projection of these relationships in “daytime” life (this action is called the “shuttle”).

2. Select a fragment of a dream and draw it. In pairs, choose 2 “characters” from the dream. Mold your partner, like clay, into one of the characters in your dream. It could be a moving sculpture. Interact with this figure, acting on behalf of the second character. Swap roles - now you yourself will play the role that your assistant played, he will play the second character of your dream. (Elena Petrova).

3. “Dialogue of Dreams.” Working with sleep in a small group. Draw an illustration for a dream you once had. Let it be two or three items. In pairs, choose one “character” from each drawing. Let each of you, in the role of your own character, conduct a dialogue with a character from another person’s dream. Carry out a dialogue between these figures, realize how and with whom this same dialogue could take place in life (Elena Petrova).

4. "Antison". Work in pairs. Tell the dream sequentially. Select and write down all the nouns, adjectives and verbs in a list. Find the antonym (opposite) for each word. Tell a new story (dream) that consists of these new words to your partner. (Daniil Khlomov).

5. Group work. The participant tells the dream. Each listener chooses one “character” and makes a drawing. Then, in pairs, play out the roles of these characters, or, as an option, make a dialogue between the selected characters. Realize what your feelings were reflected in this dream (Elena Petrova).

6. Work in a group. Select a fragment of a dream, tell it and build a dream space from objects and people. Try how it would be possible to exist in this space, what kind of awareness. In this case, it is worth taking turns replacing the participants who “play the role” of different characters in the dream and acting (including speaking) on ​​their behalf.

Working with a name

The names that are recorded in documents reflect parental expectations for the child, cultural and historical background, often the history of the family or the history of the country. In addition to the “official” name, a person carries children’s and “special” names. Those that his relatives and parents called him in childhood, as his close people or enemies call him now.

For research, it is worth paying attention to the name itself and its meaning, variations of the name (including the name when he was a child), nicknames. Several experimental options are proposed that can activate the feelings associated with the name and the relationships associated with the name in the original family.

Different types of experiments, highlighting different figures, allow you to focus on various aspects of one large topic. There is no point in doing them in a row, but it is worth choosing the appropriate one for a given session.

Remember the names you were called as a child. Who gave you these names, in what circumstances you were called by this or that name. Who called? Under what circumstances? What feelings do you experience when you think about these names? How do you feel about these people now?

Remember children's names and nicknames. What feelings did they evoke? Choose the brightest ones. Remember your “childhood” feelings and call yourself now by this nickname. What feelings did this name express and to whom? How did those who gave you this name or nickname treat you? Play out scenes with your partner.

What nicknames or pet names do you currently have? How did you get them? What areas of life do they affect?

Are there different names now at home and at work? If yes, what is the reason for this? What are your current name options? In what situations do they call you that, when do you introduce yourself that way, to whom, where. What feelings do you associate with these names? What is your relationship with these people?

Remember your names at different periods of your life. Remember the attitude towards your name at different periods of your life. How it changed. Were you proud, loved your name, or had periods of negativity. The connection between changes in life, including crises, and the relationship (choice) of names.

What is the connection between names and attitudes towards one’s gender? Your name – have there been times when you were called a name that did not correspond to your gender, or that caused ridicule.

How did your parents choose your name? What do you know about it? Their expectations. In honor of whom. What is the symbolic meaning of your name, what does it mean in translation, what did it mean to you at different periods of your life.

How do you feel with your name among the crowd (among others). In relation to those with the same names, do you feel good or do you have negative feelings when there are other people with the same names. If your name is unique, how do you feel among those who bear an ordinary name?

If you were choosing a name for yourself again, what name would you choose and why, what could it symbolize. What are the arguments for keeping the old name. What are the reasons for choosing a new one?

Presentation options at the beginning of the group

Participants are asked to write 10 questions on the topics on which they evaluate another person. Then each of them answers these questions about themselves out loud in a circle. In pairs, discuss how this exercise made you feel. (Daniil Khlomov).

Go into pairs. In pairs, sit silently for 1 minute, then everyone speaks about themselves for 3 minutes, what they want, then ask each other for 5 minutes, get to know each other. Then introduce your partner in a circle, speaking in the first person, on his behalf. Communicate group feelings and intentions.

In pairs, be silent, then talk. Then in groups of 4 people, introduce yourself on behalf of your partner, speaking in the first person. Other small group members can ask questions that need to be answered, even if there is no information. Discuss impressions, including feelings, when you were represented in the first person by another person.

Participants introduce themselves in a circle. At the same time, each participant adds one more word or phrase to his name each time, for example, on the topics “My mood”, “My dream”, “My greatest dignity”, “The object of my pride”, “What I can do better everything”, etc. The next participant repeats everything said by the previous one “in the first person”, then adds his own message. In this way, from 1 to 5 previous statements are repeated. If the reproduction is inaccurate, the “author of the text” has the right to correct the speaker by restoring his own text.

The facilitator invites all group members to stand in a circle. Each person in turn takes a step towards the center of the circle and pronounces their name in three different ways, accompanying its pronunciation with movement. After each version of the “presentation”, at a signal from the leader, the entire group synchronously takes a step towards the center and repeats the name, manner of pronunciation and movement. The participant himself remains in place, listens and observes.

Come up with a metaphor for your condition. Call the name and metaphor in a circle. The next one repeats all those who spoke before him. Copying exactly what was said, speaking in the first person, including, if possible, repeating intonation and posture.

Selected tasks from those offered in study groups

"Praise". In threes. One person praises himself for something for 3 minutes, the second person writes down all the words. The third one is watching. The observer notes and reports after completing 3 minutes - what was easy to boast about, what was difficult. How was the energy distributed? Then the second one, who listened, literally reads these words to the first one from the text, that is, he praises with these words “on his own behalf.” “I praise you for this…” further in the text. The one who observed gives feedback - what was more difficult to perceive from the lips of another, what was easier. When I boast, it means I am bragging about something. For what others did not praise me for. This is a variant of the study of retroflexion and proflexion. The topic of praise may be areas in which I have not received sufficient approval. And then the question. To which of the real people would I like to brag and get approval, but I can’t. And why (Daniil Khlomov).

"Anemone fish." The group is divided into two approximately equal parts. One half of them presents themselves as sea anemones, the other half as fish. Fish can swim between sea anemones. And they can grab or not grab, hold or let go. Hold for as long as you like, grab another one. The fish may escape or remain. Sea anemones cannot move from their place. They are attached to the floor with their heels. The action takes 10-15 minutes. After which the sea anemones and fish change roles. Discussion - who was easier - a fish or an anemone, did you want to grab and hold, did you want to be grabbed and hold, who remained uncaptured, who did not capture anyone (Daniil Khlomov).

"Three degrees of trust." The group is divided into 2 equal parts. One half of the group stands in a circle, closes their eyes and takes each other’s hands. People from the other half are located behind them. First degree of trust: those who are inside fall outside. Those outside are kept at some distance. Second degree of trust: the same thing, but without holding hands. Third degree of trust: people in the inner circle turn outward with their eyes closed, 180 degrees and fall face outward. With each test, people in the outer circle change places (Daniil Khlomov).

Some experiments to develop therapist skills

1. “The Blind Patient and the Dumb Therapist” Work in groups of 3 people. The patient tells his problem for 5 minutes. The therapist can only respond to it by touching the patient’s body (since the patient is “blind”, gestures and signs are not perceived at a distance). The observer describes the features of the contact and how the energy was distributed. Discuss the therapist's feelings. (Elena Petrova).

2. Study of contact interruptions. Client, therapist and observer. The client talks about his problem for 2 minutes. Then continues the story using only “fusion”, 2 minutes. The therapist supports the topic. The next 2 minutes are only introjects, then 2 minutes of projection, 2 minutes of retroflection and in the final 2 minutes free. The therapist's task is to support only one type of interruption of contact with the client at any given moment. The observer can provide support to the therapist if necessary.

3. "Advisor". Working in threes. The therapist works with the client, and an “adviser” is nearby. Every 2 minutes he puts his hand on the therapist’s shoulder, and the therapist tells the “advisor” what feelings he thinks the client has now and what he, the therapist, feels about the client. After this, the session continues.

4. “Analyst and patient.” People are divided into pairs in a circle, one is an analyst-therapist, the second is a patient. This is an associative experiment. The analyst touches different parts of the patient's body. The patient says the first word that comes to mind. The task is to explore the patient’s associative series. (Daniil Khlomov).

5. "Educator." In pairs, one is the client, the other plays the role of a parent (teacher, educator). The task of the first stage: with affection, persuasion, stroking, force the other person to take the most compact pose, hide everything, take a more tense pose.

After which the teachers change clients. The task of the next “educator” is to open, spread out, the client as much as possible, so that he opens his legs, arms, even opens his mouth, eyes, spreads his arms and generally takes up as much space as possible in space. Discuss the experiences of “educators” and “clients.” (Daniil Khlomov).

6. “Contact Research.” Performed in pairs. One person sits on the floor. The second one stands behind his back and sequentially performs actions corresponding to the basic mechanisms for interrupting contact. (A) “merges” with the first, synchronizing breathing, feeling like one body, (B) forces the first to take some pre-conceived pose, perhaps uncomfortable, (C) does for the first what it seems to him that he wants to receive, ( D) does for the first one what he would like to receive for himself, (D) and, finally, does for the first one something that he would never have thought could be done! (according to Vladimir Filipenko).

7. Interaction research. One person is a doll, the second is an experimenter. The experimenter’s task is to explore the possibilities of operating and handling the doll’s body. How far your arms spread, how far your head turns. The doll has the right to say “stop”. The task is to get the doll to “stop” and to determine the boundaries. The discussion is aimed at how careful the experimenter was, afraid of causing pain or crossing the line, how anxious the “doll” was, saying “stop” ahead of time.

Option 1. One puppeteer and two dolls. He can distribute his attention, simply play with two dolls, and can make a composition of the two of them at once. 10 minutes The dolls are silent and do everything. In the discussion, pay attention to the development of social feelings (envy, jealousy, responsibility for another). (Daniil Khlomov).

Option 2. Two people sit on the floor, close to each other. The hand of one of them is a toy for the other. It works the same way. After examining one hand, the experimenter plays with both hands. Discuss choice and competition between hands, whether interaction was organized, and so on. (Daniil Khlomov).

Option 3. The same thing, but there are three people in the group, and the player uses the hands of two people at once. (Daniil Khlomov).

Option 4. One person is an experimenter, the second is a talking doll. The “doll” knows one and only fairy tale (a ready-made story that he knows well and plans in advance). The “doll” comes up with a “button” on its body - one and only... The therapist must somewhere on the body, trying touches, trying touches, find this button, “press” it and hear the story. (Daniil Khlomov).

Option 5. One is a musician, the other is a musical instrument. By handling the musical instrument (that is, the body) in different ways, the therapist extracts sounds from it. The purpose of the exercise is to develop therapist skills, including more free communication with another person, and training in therapeutic contact.

8. "Tarabar language." In a small group (3-5 people), communicate in meaningless language for 5 minutes. Participants are encouraged to express their feelings as expressively as possible not only with words, but also with facial expressions and gestures.

9. "Gratitude." Write down the names of three people whom you definitely love and respect, who have done a lot for you, to whom you owe something. In a small group, take turns standing and bowing to the first person, the second and the third, presenting them in front of you. After which those who observe the bows speak of the impression and difference. Whose address is more intense (exploration of the “narcissistic” component associated with the study of feelings). Appreciation, recognition of value, gratitude to another person. What is difficult for a “narcissistic personality”. (Daniil Khlomov).

10. "Control-1". Describe the areas that I control - voice, posture, facial movement, facial expression, what in this I should control and against what pathological manifestations. After this, think about what will happen if control is released. Really let go of control, watch what happens. Describe in words what happens when I let go of my control.

11. "Control-2". Working in threes. Conduct a session, then discuss how the client feels towards the therapist as a controlling figure. (The control question is what pathological manifestations the client is trying to control in himself, and how he is trying to use the therapist to strengthen control).

12. “Silence in the group.” An experiment for working with silence. Instructions: take a pen and paper, write down everything you are silent about, everything that comes to your mind. This entry may contain repetitions, e.g. one word “difficult” or “why” Work in pairs with the received material in pairs, noting your feelings about the words and text fragments read. This could be shame, fear, joy, pleasure, contempt, note for yourself if these feelings are toxic. A feeling is a sign of an emerging figure, a “gestalt,” and a toxic feeling is a sign of frustration, which means a violated need or a hungry need. (Daniil Khlomov).

13. “Zones of awareness.” The world of experience can be divided into three zones. The external world (material objects), the internal world (the body, its sensations) and the “middle” world (fantasies, thoughts). In pairs, talk to your partner about awareness of the three zones for 10 minutes. “I am now aware” awareness of the external world - start a sentence with “now I am aware” and end it with a message about the immediate awareness of sensations that arise as a result of the influence of objects in the external world, for example, cosmetics smell, the sound of a fan avoid interpretation or evaluation, then switch to partner, listen to him. Then do the same with the sensations of your body, become aware of your posture, pain... Then - the middle zone, a message about experiencing anxiety about the event, thoughts about home, and so on. After identifying the three zones, observe. where attention leads you, not bound by the task of concentrating on a specific area. Start with “Now I am aware” and end with any message, no matter what zone - external, internal or more harmful - it relates to. Connections between zones can be discovered. For example, realize that there is noise, remember how the refrigerator makes noise, feel the taste of food in your mouth and hunger in the body (internal zone).

14. “Compliments-1.” Come up with or remember a compliment that seems most “good” to you at the moment. Think about what kind of compliment you would like to hear yourself at the moment. In the group, look through the eyes of a person who, as you think, would be suitable for the “good” compliment you have chosen. Approach him and say this text without changing it. Discuss how you felt when you were given a pre-prepared compliment. How did you feel when you chose the person? What did you expect to hear? How does what you heard compare to what you hoped for? What does this mean for you?

15. “Compliments-2.” Think about what kind of compliment you would like to hear yourself at the moment. In pairs, listen to this text from the other person... What does this mean to you, what feelings. Then say your text to the second person. What happens to you when you give someone else “your” compliment? How do you feel when you receive a “stranger” compliment?

Writing assignment options

Write 3 phrases that begin with the words “I must...”. Replace them with phrases that begin with the words “I can...”, with the same continuation. In pairs, say these new phrases “with feeling.” Realize what real feelings and needs are behind these words.

Write 7-10 phrases that reflect what you will never be able to do. After this, work in pairs. After that, replace “I will never be able” with “I really want to.” Discuss and think about what desire really lies behind this. For example: “I will never steal” this means that I suppress my envy of people, I do not allow myself to envy those who have something. “I will never be able to kill - I will never allow myself to be angry.” (Daniil Khlomov).

Write 3 times phrases that begin with the words: “I shouldn’t...”. Replace the beginning of these phrases with “I can...”. Think about what reward, psychological or material, you received in childhood and are receiving now thanks to compliance with these obligations. Realize what “punishment” you will suffer for violating it, or what fee you will have to pay, what you risk if you break the ban. This experiment aims to study introjects. (Elena Petrova).

More exercises

Find the traits you don’t like (3 positive and three negative), then act in a circle based on these traits (“take a shit”), and in pairs discuss what needs were satisfied or identified during this playback.

Exploring the projection of the positive part of oneself. Choose a person whom you definitely respect and who is important to you. Write down its most important characteristics. Cross out his name and write yours. Realize which of these characteristics truly apply to you. (Daniil Khlomov).

Choose a metaphor that symbolizes the state at the moment. And a metaphor for how we would like it to be. Together with a therapist, the client works with the metaphor, changing it in small “steps,” each of which brings him closer to the desired state. After each step that changes the metaphor, the client identifies with the resulting object and talks about feelings. For example, “a rock in a gorge” can become “a bird in the sky.”