Table 2.
List of core techniques validated by FEPTO-RC.
| List of techniques initially proposed | Techniques selected by FEPTO-RC | Sources used for the definition of the techniques (quality = 1 point) | |
|---|---|---|---|
| Core techniques | Soliloquy Double Mirror Role Reversal Resistance Interpolation | Soliloquy The director asks the protagonist to think “out loud” and express his/her feelings, thoughts or intentions | Pio de Abreu, 1992; Rojas-Bermúdez, 1997; Santos, 1998; Cukier, 2002 |
| Double The auxiliary ego plays the role, or an aspect of protagonists' role, by standing to the side or behind him/her; expressing the protagonist's unspoken thoughts and feelings. | Gonçalves et al., 1988; Holmes, 1992; Pio de Abreu, 1992; Blatner, 1996; Rojas-Bermúdez, 1997; Gonçalves, 1998; Cukier, 2002; López, 2005 | ||
| Mirror The protagonist watches, as if in a mirror, the auxiliary ego playing his or her role, reproducing it by mirroring his/her postures, gestures and words as they appeared in the dramatization. | Gonçalves et al., 1988; Pio de Abreu, 1992; Rojas-Bermúdez, 1997; Gonçalves, 1998; Cukier, 2002; López, 2005 | ||
| Role reversal A dramatization in which the protagonist reverses with other roles, so that the protagonist places him/herself in the other's shoes | Blatner and Blatner, 1988; Holmes, 1992; Pio de Abreu, 1992; Kellerman, 1994; Rojas-Bermúdez, 1997; Cukier, 2002; López, 2005 | ||
| Secondary techniques | Sculpture Social atom Intermediate objects Games Sociometry Role play Symbolic representation | Resistance Interpolation The director asks the auxiliary ego to act in a completely different way to which the protagonist would expect (e.g.: an authoritarian figure may become humble and compliant). | Gonçalves et al., 1988; Pio de Abreu, 1992; Rojas-Bermúdez, 1997; Calvente, 1998; López, 2005 |
| Sculpture The director asks the protagonist to arrange group members in a symbolic representation of the way he/she perceives an aspect of his/her life or self. | Pio de Abreu, 1992; Hug, 1997; Rojas-Bermúdez, 1997; López, 2005; Moyano, 2012; Rojas-Bermúdez and Moyano, 2012 | ||
| Social atom Representation or configuration of all the meaningful relationships in protagonists' life. It can be represented in diagrams or graphic terms, or about individuals or issues, in past or present terms, intensity and/or distance. | Gonçalves et al., 1988; Pio de Abreu, 1992; Cukier, 2002 | ||
| Intermediate Objects The director introduces the use of objects in the session to facilitate communication with the protagonist (e.g. a doll, puppet, stone, fabrics, etc.). | Rojas-Bermúdez, 1997, 2012 | ||
| Games A game with specific objectives and specific rules | Pio de Abreu, 1992; Rojas-Bermúdez, 1997; Monteiro, 1998 | ||
| Sociometry Measure interpersonal relationships, how group members position themselves in relation to each other, in response to given criteria. | Blatner and Blatner, 1988; Gonçalves et al., 1988; Fox, 2002 | ||
| Role training To practice a role, to simulate a situation, to try different answers, alternatives or behaviors. | Boies, 1972; Blatner and Blatner, 1988; Pio de Abreu, 1992; Soeiro, 1995; Rojas-Bermúdez, 1997; Kaufman, 1998; Cukier, 2002 | ||
| Other techniques or actions | Symbolic representation Amplification Concretization Empty chair | – |