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1. Which statement is FALSE as applied to psychodrama?
a.
The therapy is an action-oriented method.
b.
The therapy is characterized by a here-and-now focus.
c.
Emphasis is on catharsis and insight.
d.
Emphasis is on identifying ego states.
2. ____________ is a complex and intense method that involves warm-up, protagonist-centered work, and sharing.
a.
Classical psychodrama
b.
Jungian psychodrama
c.
Neo-Freudian psychodrama
d.
Moreno’s expressive arts therapy
3. The psychodrama method emphasizes
a.
spontaneity and creativity.
b.
an intellectual understanding of the causes of conflicts.
c.
a way of challenging irrational beliefs.
d.
understanding life scripts.
4. All of the following are reasons the psychodrama emphasis is on acting EXCEPT
a.
freeing an individual.
b.
providing members with a new understanding of their problems.
c.
providing a here-and-now focus.
d.
allowing minimal expression of feelings.
5. The past is dealt with
a.
by dwelling on causal factors of current problems.
b.
by bringing it into the present and by reenacting the event and reexperiencing earlier feelings.
c.
by talking about possible reasons for feelings.
d.
by acting out a possible future experience.
6. How is catharsis a part of psychodrama?
a.
Pent-up feelings are not dealt with.
b.
Catharsis is neither necessary nor desirable.
c.
Catharsis is facilitated by the use of certain techniques designed to intensify feelings and pent-up feelings are
released through acting.
d.
Catharsis is useful only after members fully understand what is causing a particular problem.
7. All of the following describe a role of the psychodrama group leader EXCEPT
a.
to be a producer.
b.
to be a catalyst/facilitator.
c.
to be an observer/analyzer.
d.
to be an actor working out personal issues.
8. Which is NOT generally a function of the psychodrama director?
a.
To warm up the group before action takes place
b.
To coach other members to act as doubles
c.
To offer suggestions regarding what scenes might be enacted
d.
To attack the illogical beliefs of members
9. The protagonist is
a.
the person selected to work.
b.
the symbolic figure in a member’s life that antagonizes the member.
c.
the group member who serves as an alter-ego.
d.
the director when he or she is role-playing with the member who is working.
10. The auxiliary ego is
a.
a group member who plays symbolic roles.
b.
an inner part of the member that is in conflict.
c.
the person who is chosen to work on a conflict.
d.
played at all times by the director.
11. According to psychodrama
a.
members of the group can profit only if they are directly involved in reenacting an event.
b.
members of the group can benefit in vicarious ways by observing the work of others.
c.
members will change their behavior only if they develop a contract that specifies homework assignments.
d.
unless a problem is solved, the psychodrama is a failure.
12. All of the following describe a danger of utilizing psychodrama EXCEPT
a.
participants being left without adequate closure.
b.
use of power on the part of the leader appropriately.
c.
pushing people beyond the level to which they want to work.
d.
breaking down defenses without substituting constructive ways to deal with anxiety.
13. Psychodrama is based on the premise that the best way to promote creativity is through
a.
rigorous thought experiments.
b.
brainstorming sessions.
c.
spontaneous exploratory activities.
d.
shame-attacking exercises.
14. Which of the following techniques is the most useful for helping members clarify and prioritize their values?
a.
The mirror technique
b.
The magic shop
c.
The double technique
d.
Future projection
15. We rely on ______________________ to help us warm up our innate spontaneity.
a.
physical, mental, emotional, and relational “starters”
b.
the group leader
c.
the dominant members of the group
d.
our intuition
16. The technique whereby a protagonist speaks directly to the audience by expressing some uncensored feeling or
thought is
a.
the mirror technique.
b.
projection.
c.
soliloquy.
d.
role reversal.
17. The third phase of a psychodrama consists of
a.
sharing what was observed during the action period and discussion.
b.
encouraging a protagonist to act out a conflict.
c.
the leader’s giving an interpretation of the dynamics of behavior.
d.
some type of nonverbal exercise.
18. When the protagonist slips into narrating, or begins to talk about a problem, the director
a.
steers the protagonist into action by saying, “Don’t tell me about it, show me what happened, as if it’s
happening now.”
b.
prompts other members to get involved in order to steer the protagonist away from providing a lengthy
description of the problem.
c.
politely dismisses him or her and asks another member to assume the role of protagonist.
d.
allows this group member to speak without interrupting him or her.
19. Which of the following is NOT a basic concept in psychodrama?
a.
Dealing with the present
b.
Encounter
c.
Lifestyle
d.
Spontaneity
20. Psychodrama was designed to facilitate the expression of feelings in a spontaneous and dramatic way through the use
of
a.
free association.
b.
role playing.
c.
dream analysis.
d.
shame-attacking exercises.
21. A psychodrama encounter is
a.
a full encounter that directly leads to improved relationships in the protagonist’s life.
b.
not a full encounter because the protagonist is encountering the significant other as portrayed by an auxiliary.
c.
almost always of greater therapeutic benefit to the auxiliaries than to the protagonist.
d.
less effective than reporting an event to other members.
22. The ventilation of stored-up feelings is known as
a.
breaking out.
b.
breaking down.
c.
working through.
d.
catharsis.
23. Which of the following statements about the concept of tele is FALSE?
a.
Tele refers to feelings of disdain for other psychodrama participants.
b.
Tele is a therapeutic factor related to change that promotes healing through a reciprocal empathic feeling.
c.
For many people, tele operates at a preconscious or even unconscious level.
d.
The level of positive tele in a group correlates with its cohesiveness.
24. The most important issue in the warm-up phase is creating an atmosphere that fosters
a.
spontaneity and involvement.
b.
specificity of behavioral goals.
c.
a regression to early childhood memories.
d.
an ability to critically evaluate one’s thoughts.
25. ________________ is a vehicle for the technique of role reversal when an auxiliary ego may not be available, or the
actual person is too threatening to engage in an encounter.
a.
Doubling
b.
The magic shop
c.
The empty chair
d.
The mirror technique
26. Psychodrama produces insight through action and is designed to bring into consciousness and expression the
underlying attitudes, thoughts, and emotions of individuals. Classical psychodrama is too intense for use with children and
adolescents. Name the technique utilized in schools and describe the benefits and drawbacks.
27. Explain role training and illustrate its use.
28. Identify one major contribution and one main limitation of psychodrama.
29. Describe the essentials involved in the warm-up phase.
30. Demonstrate how psychodrama is applied with a culturally diverse population.
