Gestalt therapy techniques. Gestalt therapy in the prevention of mental disorders

Gestalt Therapy Techniques

Technique 1. "Concentration of attention on feelings"

Method 1. "Sharpening the sense of the body"

Exercise 1

“Now I realize that I am lying on the couch. I now realize that I am about to do an experiment in awareness. Now I realize that I hesitate, I ask myself where to start. Now I am aware - I notice that there is a radio playing behind the wall. It reminds me... No, now I'm realizing that I'm starting to listen to what's being broadcast... I'm realizing that I'm coming back from my wandering. Now I slipped away again. I remember the advice to stick to outer events. Now I am aware that I am lying cross-legged. I realize that my back hurts. I realize that I want to change position. Now I am doing it…” etc.

Exercise 2

At first, try to pay attention only to external events: what is seen, heard, smells, but without suppressing other experiences. Now, in contrast, focus on internal processes: images, physical sensations, muscle tension, emotions, thoughts. Now try to differentiate these different internal processes, focusing on each of them as completely as you can: on images, muscle tension, etc. Keep an eye on all the emerging objects, actions, dramatic scenes, etc.

Exercise 3

Focus on your bodily sensations in general. Let your attention wander to different parts of the body. If possible, "pass" attention to the whole body. What parts of yourself do you feel? To what extent and with what clarity does your body exist for you? Notice pains and tightness that you usually don't notice. What muscle tension do you feel? Paying attention to them, do not prematurely relax them, let them continue. Try to determine their exact location. Pay attention to how your skin feels. Do you feel your body as a whole? Do you feel the connection between the head and the body? Can you feel your genitals? Where is your chest? Limbs?

Exercise 4

Walk, talk or sit; be aware of proprioceptive details without interfering in any way with these sensations.

Exercise 5

Sitting or lying in a comfortable position, be aware of the various sensations of the body and movement (breathing, arising clamps, contractions of the stomach, etc.); pay attention to whether there are certain combinations or structures in all this - something that happens at the same time and forms a single pattern of tensions, pains, sensations. Notice what happens when you hold or stop your breath. Do any tensions of the hands and fingers, peristalsis of the stomach, sensations in the genitals correspond to this? Or maybe there is some connection between holding your breath and straining your ears? Or between breath holding and tactile sensations? What combinations can you find?

Method 2. "Experience the continuity of emotions"

Exercise 1

Try to reproduce any bodily action. For example, tighten and then relax your jaws, clench your fists, start breathing heavily. You may notice that all of this evokes a vague emotion—in this case, frustrated fear. If you can add to this experience, say, a fantasy, an idea of ​​some person or thing in your environment that frustrates you, the emotion will flare up with full force and clarity. Conversely, in the presence of something or someone that frustrates you, you notice that you do not feel emotions until you accept as your own the appropriate bodily actions: clenching your fists, breathing excitedly, etc., you begin to feel anger.

Exercise 2

Lying try to feel your face. Can you feel your mouth? Forehead? Eyes? Jaws? Having gained these sensations, ask yourself the question: “What is the expression on my face?”. Don't interfere, just let that expression be. Focus on it and you will notice how quickly it changes. Within a minute, you may feel several different moods.

Exercise 3

Visit an art gallery, preferably quite diverse. Take only a momentary glance at each picture. What emotion, however vague, does it evoke? If a storm is depicted, do you feel the corresponding whirlwinds and excitement in yourself? Doesn't this face scare you a little? Is this bright set of colors annoying? Whatever your fleeting impression, don't try to change it with conscientious looking, move on to the next picture. Notice how thin emotional feeling calls this drawing, and move on to the next one. If your reactions seem very vague and fleeting, or if you can't track them at all, don't assume that this will always be the case, repeat the experience at every opportunity. If it is difficult to go to the gallery, you can do the same with reproductions.

Exercise 4

Relive in fantasy again and again an experience that had a strong emotional load for you. Try to remember additional details each time. For example, what is the scariest experience you can remember? Feel again how it all happened. Once again. And again. Use the present tense.

Perhaps some words will come up in fantasy, something that you or someone else said in this situation. Say them out loud, over and over; listen to how you pronounce them, feel your feelings when pronouncing and listening. Think back to a time when you were humiliated. Play it back a few times. As you do this, notice if any earlier experience of this kind comes to mind. If so, go to him and work through the situation.

Do this for different emotional experiences - as long as you have time. Do you have, for example, unfinished situations of grief? When someone loved died, could you cry? If not, can you do it now? Can you mentally stand at the coffin and say goodbye? When were you the most angry? Are you ashamed? Confused? Did you feel guilty? Can you relive that emotion? If you can't, can you sense what's blocking you?

Technique 2. "Integration of polarities"

Exercise 1. "Role-playing"

The group members, at the suggestion of the therapist, take turns playing their intrapersonal conflicts, which they are not fully aware of, but are obvious to others. For example, if a participant, without noticing this, apologizes too often, speaks in a low voice, is embarrassed, then he can be asked to play the role of a shy, timid young man. At the same time, he is asked to somewhat exaggerate precisely those character traits that are especially pronounced in him.

If the participant is aware of his behavior and wants to get rid of it, he can be instructed to play the role of a person with opposite character traits, for example, Khlestakov or the Chief, who speaks to subordinates only in the tone of orders and moralizing.

Each participant is given 5-10 minutes to act out the role. The rest of the time should be left for the exchange of impressions.

Exercise 2. "Struggle of opposites"

The psychotherapist determines the topic of the discussion, then assigns one of the participants the role of the Attacker, the other - the Defender. Participants sit facing each other and start a discussion. Each of the participants must firmly adhere to their role. The attacker must criticize the partner, scold him, teach, speak in a firm authoritarian voice. Defender - to apologize, justify, explain why he does not succeed in everything that the Attacker requires from him.

The discussion lasts 10 minutes. After that, the partners switch roles. Each participant in the dialogue needs to fully and deeply realize the feeling of power, aggression of the Attacker and the feeling of timidity, humiliation, insecurity of the Defender. Compare the roles you have played with your behavior in real life. Discuss your experience with the group.

Exercise 3. "Antique shop"

Sit on a chair, close your eyes, relax. Imagine that you are in a store that sells antiques. Mentally choose any object for yourself and imagine yourself with this object. Tell about yourself on behalf of this subject: how you feel; why were in the store; who and where is your previous owner, etc. Open your eyes and share your feelings with the group.

In the same way, one can identify with a flower, a tree, an animal by imagining oneself in the appropriate conditions. Don't be ashamed of your feelings. Try not to have unfinished experiences.

Exercise 4 "Two chairs"

Often a person feels some duality, splitting by opposites, feels himself in a conflict of these opposites, opposing forces. You are invited to play a dialogue between these parties. With each change of role, you will change chairs: “friendly me” and “annoyed me”.

The role played may be the role of the person as he is now; the role of a child, mother, father, spouse or boss. The role can be a physical symptom - ulcer, headache, back pain, palpitations. It can be an object encountered in a dream, for example, a piece of furniture, an animal, etc.

Exercise 5 "Working with the name"

The sense of identity develops under the influence of the environment. This is a reaction to influences and influences addressed to a person. Even the name or names that are recorded in documents affect fate. They reflect parental expectations of 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 bears children's names, nicknames and nicknames - those that his relatives and parents called him in childhood, as close people or enemies call him now.

There are several options for exercises that can activate the feelings associated with the name and the relationship associated with the name in the childhood family.

Different exercises, highlighting different figures, allow you to focus on various aspects of one big topic. It makes no sense to do them in a row, but it is worth choosing the right ones for this session.

Remember the names and nicknames you were called as a child. Who gave you these names, in what circumstances were you called by this or that name? Who called? How do you feel now when you think of these names?

Choose the brightest baby names. What feelings did they evoke? Connect with projection. Experiment right now. What feelings did this name express? How did those who gave this name or nickname treat you? Play skits with your partner.

What are your nicknames or pet names now? Where did they come from? What areas of life do they affect?

Do you have different names at home and at work? If yes, what is the reason? Remember your names (definitions, characteristics) in different periods of life. How did they influence or influence your self-image now?

Introduce yourself in the circle with three different names, each accompanied by the appropriate intonation and pantomime. Remember the attitude to your name in different periods of life. How did it change? Were you proud of him, did you love your name - or were there periods negative attitude? What are your current naming options? In what situations are you called that, when you introduce yourself in this way, to whom, where? What feelings do you associate with these names? What is your relationship with the people who call you that?

Have you ever been called by a name that is inappropriate for your gender or derisive? How did your parents choose your name? In honor of whom? Their expectations - what do you know about it? 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 others? How do you feel about those who have the same name: do you feel good or do you have negative feelings when there are still people with the same name? If your name is unique, how are you among those who have an ordinary name?

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

Be aware of how you present yourself - for example, in this group; what they call you - the way you introduced yourself or otherwise. How do you react to this? What do you prefer to be called, by whom and when? What variations of your name do you dislike?

(For married women.) How did changing or leaving your maiden name after marriage, divorce, or widowhood affect your identity? Whose last name do you bear and why - what does it mean to you? If your last name is different from your husband's last name, how do people react to it?

Technique 3. "Working with dreams"

Exercise 1

Tell the dream in the first person. Highlight the most energized elements of sleep. Consistently identify with each dream object, say a monologue on its behalf. It is possible to organize a dialogue between the elements of sleep. Find the projection of these relationships in the "day" life (this action is called "shuttle").

Exercise 2

Select a fragment of the dream and draw it. In pairs, choose two dream characters. Sculpt from a partner, like from clay, one of the characters. It could be a moving sculpture. Interact with this figure on behalf of the second character. Switch roles - now you play the role that your assistant played, he will play the second character in your dream.

Exercise 3 "Dialogue of dreams"

Draw an illustration from a dream you once had. Let it be two or three items. In pairs, choose one character from each picture. Let each of you, in the role of your character, have a dialogue with a character from another person's dream. Conduct a dialogue between these figures, realize how and with whom the same dialogue could be conducted in life.

Exercise 4 "Antison"

Work in pairs. Tell the dream in sequence. Choose and write down a list of all nouns, adjectives and verbs. Find an antonym for each word. Tell new story(dream), which consists of these opposite words, to your partner.

Exercise 5

In a group, one person tells a dream. Each of the listeners chooses one "character" and makes a drawing. Then, in pairs, act out the roles of these characters or act out a dialogue between the selected characters. Be aware of your feelings reflected in this dream.

Technique 4. "Overcoming resistance"

Method 1. "Turning a merge into a contact"

Exercise 1

Note some of your habits: how you dress, how you brush your teeth, how you open or close a door, how you bake a cake. If the habits don't seem to be the most effective, or if the new way of doing things is just as good and adds variety, try changing the old habits. What will happen? Will you enjoy learning to do something in a new way? Or will you meet with strong resistance? Won't changing one particular thing overturn your whole pattern of routine? What happens when you watch someone do a job similar to yours? Do differences, even small ones, from how you do it yourself annoy you?

Exercise 2

When you wake up, before you get up, think about the possibility of feeling or acting differently than usual. Don't make decisions that need to be made, just vividly visualize possible simple and easy changes to your routine.

Exercise 3

Look at as many of your characteristics as you can—speech, dress, behavior in general, etc.—and ask yourself who you have acquired them to imitate. Friends? Enemies? If you approve of this feature in yourself, do you feel gratitude towards its source?

Exercise 4

Observe your reactions to a movie or play. Notice how, without noticing it, you identify with the characters. With what exactly? Do you experience internal resistance?

Exercise 5

Think about who you feel guilty or offended about. If someone else did the same actions, would they evoke the same feeling? Now remember your relationship with this person as a whole. To what extent do you take for granted what he may not take for granted at all? Do you want to change the status quo?

Then, instead of torturing yourself with feelings of guilt or resentment, look for ways to expand the area of ​​\u200b\u200bcontact!

Method 2. “Working with retroflection. Study of misdirected behavior"

Exercise 1

When we use expressions such as "I ask myself" or "I tell myself," what is meant? These expressions, which we use at every step, tacitly suggest that a person is, as it were, divided into two parts, that they are, as it were, two people living in one body and able to talk to each other.

Try to really understand that by "asking yourself" about something, you are asking a retroflexive question. You don't know the answer, otherwise you wouldn't be asking the question. Who in your environment knows or should know? If you can identify who it is, can you feel the urge to ask your question not to yourself, but to him? What is holding you back? Shyness? Fear of rejection? Unwillingness to reveal your ignorance?

When you "consult with yourself" about something, can you become aware of your motives? They may be different. It can be a game, harassment, consolation or self-reprimand. Whatever it is, who are you replacing?

Consider remorse. You will not find genuine guilt here, but only pretense. Direct the rebuke to the person to whom it is actually addressed. Who do you want to rebuke? Who do you want to change? Who do you want to create guilt in by pretending to experience it yourself?

Consider cases of self-pity and self-punishment and try to answer next questions. Who do you want to pity? From whom would you like to receive sympathy? Who do you want to punish? Who would you like to be punished?

Exercise 2

Although few of us suffer from compulsion neurosis, we all have a certain measure of self-compulsion. By trying to force yourself to do something that you yourself do not want to do, you are working against powerful resistance. The prospect of achieving the goal is clearer if, instead of forcing, you are engaged in finding out what obstacles stand in your way.

Turn a situation in which you would force yourself into a situation where you force another to do a task for you. Will you manipulate him with polite words? Or will you threaten, command, bribe, reward?

On the other hand, how do you react when you are forced? Are you pretending to be deaf? Making promises you're not going to keep? Or do you react with guilt and repay the debt with self-contempt and despair?

Exercise 3

Another important retroflection is a feeling of contempt for oneself, self-abasement. When a person's relationship with himself is broken, all his interpersonal relationships are also broken. The person is chronically bad relationship with himself, if he has developed a habit of evaluating himself all the time and comparing his real achievements with his inflated ideals.

What do you doubt about yourself? Don't trust yourself? What are you judging yourself for?

Can you reverse these relationships? Who is this X that you doubt? Who do you despise? Who would you like to knock down? Is your feeling of inferiority disguised arrogance? Can you look at your self-deprecation and see it as a retrospective desire to destroy some X?

Exercise 4

Another important type of retroflection is introspection. This is self-gazing. The observer is split, separated from the observed part, and until this division "overgrows", the person does not feel that self-realization of himself as a whole person is possible.

Consider your introspection. What is your goal? Are you looking for some mystery? Trying to pull out some memory? Hoping (or afraid) to encounter something unexpected? Are you looking at yourself with the watchful eye of a stern parent to make sure you haven't done anything wrong? Or are you trying to find something that fits with the theory, like the one that develops in these pages? Or, on the contrary, do you find that there are no such confirmations? Refer this relationship to the people around you. Is there anyone whose “innards” you would like to see?

Is there anyone you would like to watch strictly? Regardless of the purpose of your introspection, how do you do it? Are you reaching for something? Or are you like a rude policeman who knocks on the door and demands to open it immediately? Or do you look at yourself timidly, stealthily, or stare at yourself with unseeing eyes? Or do you manipulate events to match your expectations? Are you falsifying them by exaggeration? Or do you only highlight what matches your immediate goals? Pay attention to how your Self functions. This is much more important than the specific content of the observation.

Method 3. “Working with retroflection. Mobilization of muscles»

Exercise 1

In a healthy body, the muscles are not clamped, not relaxed, they are in an average tone, maintain a posture, and are ready to provide movement or manipulation of objects. At the beginning of this experiment, do not relax until you are able to cope with the excitement that is thus released. From the very beginning, be prepared for sudden outbursts of anger, screaming, vomiting, urination, sexual impulses, etc. The impulses you may feel at first are pretty close to the surface and you can handle them easily. However, to avoid possible confusion, we advise you to perform muscle experiments alone. Also, if you are prone to anxiety attacks, work through what you are about to do with internal verbalization before undertaking intense muscle focus.

Lying, without relaxing voluntarily, feel your body. Notice where the pain is - headache, back pain, writing cramps, stomach cramps, vaginismus, etc. Feel where the clamps are. Don't "get into" the clamp and don't do anything with it. Be aware of tension in the eyes, neck, and around the mouth. Allow your attention to move sequentially through the legs, lower torso, arms, chest, neck, head. If you find yourself hunched over, correct your position. Do not make sudden movements, give the opportunity to gently develop self-awareness. Notice your body's tendency to self-regulate - the tendency to let go of something in one place, to stretch in another, etc.

Don't fool yourself that you feel your body when you are just visualizing or "theoretically" aware of it. If you are inclined towards the latter, you are working with the idea of ​​yourself, not with yourself. But this self-image is forced upon you by your Self with its resistances; it lacks self-regulation and spontaneity. It does not come from the feeling-awareness of the organism. By waiting, distrusting visualizations and theories, can you get the heat of awareness arising directly in the parts of the body that you are focusing on?

As you go along, notice what objections you might have to each particular moment of awareness. Do you have contempt for physical functioning? Or are you ashamed that you are the body? Do you consider defecation a painful and dirty necessity? Does the tendency to clench your fists scare you? Are you afraid to strike? Or one that hits you? Do you feel tension in your throat? Are you afraid to scream?

In those parts of the body that were especially difficult for you to feel, when you regain sensation, you are likely to experience sharp pain, painful dullness, convulsions. If such pains arise, focus on them. Of course, we are referring only to functional or "psychogenic" pains, and not the results of physical injuries or infections. Try not to fall into hypochondria, but if in doubt, consult a doctor. If possible, find a doctor who understands functional disorders.

Exercise 2

An extremely useful method for understanding the meaning of certain pains and tensions is to recall the relevant common expressions. As a rule, they contain centuries-old proven wisdom. For example:

If I have a stiff neck, am I stubborn? I lift my head high: am I arrogant? I push my chin forward: do I want to lead? My eyebrows arch: Am I haughty? My throat constricts: do I want to scream? I whistle in the dark: am I afraid of something?

My body is trembling: am I scared? My brows are furrowed: Am I angry? I feel like I'm swelling: Am I ready to burst into anger? My throat is tight: what can't I swallow? I feel nauseous: what can't I digest?

Exercise 3

Until now, you have explored yourself and adjusted yourself gently. Now it's time to explicitly express the functions that are hidden in the tight muscles, to turn muscle clamps into controlled behavior. Our next step in resolving chronic muscle tension problems - and any other psychosomatic symptoms - is to get adequate contact with the symptom and claim it as your own.

Apply the concentration experiment method to a headache or other similar symptom. Give it your attention and let the figure/ground form spontaneously. If you can accept pain, it will be a motivating interest; it is a feeling of interest. It is important to be able to anticipate its development. Let it happen on its own, without interference and without prior ideas. If you get in touch, the figure will become more and more clear and you will be able to resolve the painful conflict. But keep in mind that for a long period after the start of work, changes can be very slow, especially if you wait from the very beginning for a bright drama, so you risk losing your patience.

The pain will move, expand or narrow localization, change intensity, quality, etc. Try to notice where and in what direction you are squeezing certain muscles, determine the shape and size of the clamps. Be attentive to every trembling, scratching, "goosebumps" on the skin, flinching - in short, to all signs of biological arousal. Such sensations of excitation, autonomic or muscular, may appear in waves or be constant, increase or decrease. As itching develops, for example, see if you can keep from scratching prematurely; focus on it and follow its development. Let the excitement come to the fore. If the procedure is carried out correctly, in the end, there is a feeling of health and well-being. This technique is applicable not only to psychosomatic pains, but also to fatigue, vague arousal, anxiety attacks.

Exercise 4

During the previous exercises, you may experience anxiety, which is self-regulation - an attempt to overcome incorrect breathing during increasing arousal. Regardless of whether there is anxiety, do the following exercise.

Take 4-5 deep, but effortless breaths and exhalations. Can you feel the flow of air in the throat, in the nasopharynx, in the head? When exhaling through your mouth, let the air come out calmly and put your hand up to feel the flow. Do you keep your chest expanded even when no air enters it? Do you draw your stomach in as you inhale? Can you feel a soft breath to the epigastric fossa and pelvic region? Can you feel the movement of the ribs on the sides and on the back? Notice the tension in the throat; on the jaw; on the nasopharynx.

Pay special attention to the tension in the diaphragm. Focus on these tensions and clamps and watch them develop. Throughout the day – especially when you feel interested (at work, when someone sexually attractive is around, perceiving works of art, when faced with an important problem) – notice how you try to hold your breath instead of breathing deeper, which would be more natural in such a situation from a biological point of view. What are you holding back by restricting your breath? Scream? Trying to run away? Desire to hit? Vomit? Gas emission? Cry?

Method 4. “Working with retroflection. The Return of Action to the Outside World"

Exercise 1.

By focusing on the differences between the left and right sides, you can largely restore the subtle moments of balance needed for healthy posture and proper movement. Lie on your back on the floor. Work first on the arches in the lower back and in the neck. While neither would be in the air if your lying posture were correct, do not try to relax or force your spine to straighten. Raise your knees and slightly spread them, resting your soles on the floor. This will reduce the tension in your spine, but you may still feel stiffness in your back and a pulling sensation in your legs. Allow your body to spontaneously shift into a more comfortable position.

Now compare each part of the right side of the body with the left. You will find many differences in what should be symmetrical. The feeling that you are lying “completely crooked” expresses, albeit in a slightly exaggerated way, what it really is. Following the internal impulses in the body, as you notice them, gently change your posture - very, very slowly, without sudden movements. Compare left and right eyes, shoulders, legs, arms, etc.

In the process of this work, keep your knees slightly apart, hands free and not crossed. Note the tendency to connect them, if any. See what that might mean. Do you want to protect your genitals? Do you feel too open and vulnerable to the world when you lie like this? Who can attack you? Or do you want to tie yourself up for fear that otherwise you will fall to pieces? Are your differences between right and left an expression of wanting to grab someone with one hand and push them away with the other? To go somewhere and at the same time not to go? When you're trying to get comfortable, how do you do it? Are you squirming? cringe? Are you crawling? Do you feel trapped?

A very important relationship, as well as important differences, exists between the front and back of the body. For example, it is possible that while you pretend to look ahead of you, you are actually interested in what is behind you, so that you never see where you are. What unknown thing are you waiting for behind? Or are you hoping that something will take you by storm? If you tend to stumble and fall easily, paying attention to the differences between the front and back can be very helpful.

By allowing muscle sensations to develop, you may sometimes feel vague, but desire make a certain movement. It could be some sort of pulling or pulling. Try to follow this impulse. If the feeling intensifies, extend your whole arm and - as a natural extension of this gesture - your whole body. What are you striving for? To mother? To an absent lover? Does the stretching of the arms turn into a repulsion at some point? If so, push it away. Push off something solid, like a wall. Do it with the strength that suits your feeling.

Or suppose your lips tighten and your head tilts to the side. Let your head move from side to side and say no! Can you say it firmly and loudly? Or is your voice shaky and broken? You asking? Are you making excuses? Or does your rejection escalate into a general feeling of defiance and rebellion, with punches, kicks and screams? What does it mean?

When performing these imitative movements, nothing can be achieved by force. Otherwise, the exercise will turn into acting and knock you off your feet. right way. Your understanding of what is seeking expression must grow from the exploration and development of your feelings and their meaning to you. If the movements are correct and occur in the correct rhythm and in right time, they crystallize your feelings and clarify the meaning of your interpersonal relationships.

Method 5. “Working with introjection. Introjection and food»

Exercise 1

Focus on your food without reading or thinking. Meal moments have become for us mainly an occasion for various social activities. A primitive creature retires to eat. Follow - for the sake of experiment - his example: once a day, eat alone and learn to eat. It may take about two months, but in the end, you will get a new taste. If you are impatient, this may seem like too long. You will want magical ways, quick results without effort. But in order to get rid of your introjects, you yourself must do the work of destruction and new integration.

Notice your resistances to food. Do you only taste the first bites, then fall into a trance of "thinking", dreaming, wanting to talk - and at the same time losing your sense of taste? Are you biting off with a specific and efficient movement of your front teeth? In other words, do you bite into a piece of a meat sandwich that you hold in your hand, or do you just clench your jaw and then tear off a piece with a movement of your hand? Do you use your teeth until the food is completely liquefied? For now, just notice what you're doing, with no intention of changing anything. Many changes will happen by themselves, spontaneously, if you keep in contact with food.

When you become aware of the process of eating, do you feel greedy? Impatience? Disgust? Or do you blame the hustle and bustle of modern life for having to swallow your food? Is it different when you have free time? Do you avoid bland, tasteless foods, or do you swallow them without objection? Do you feel a "symphony" of smells and textures of food, or have you reduced your taste so much that everything is more or less the same for him?

How is it not with physical, but with mental food? Ask yourself, for example, similar questions about a readable printed page. Do you skip difficult paragraphs or work through them? Or do you like only light reading, something that can be swallowed without an active reaction? Or do you force yourself to read only "difficult" literature, even though your efforts give you little joy?

And what about movies? Do you fall into a kind of trance where you kind of "drown" in the scenes? Consider this as a case of a merge.

Method 6. “Working with introjection. Expulsion and digestion of introjects"

Exercise 1

Every time you eat one piece - only one! - chew completely until liquefied; do not let a single particle remain intact, look for them with your tongue and pull them out of the corners of the mouth for chewing. When you feel that the food is completely liquefied, swallow it.

Exercise 2

Find some intellectual action equivalent to chewing a piece. For example, take one difficult sentence in a book that seems like a “tough nut” and carefully analyze it, break it down into parts. Find the exact meaning of each word. Determine, however vaguely, whether the sentence as a whole is true or false. Make this sentence your own, or figure out what part of it you don't understand. Maybe this is not your misunderstanding, but the proposal is not clear? Decide for yourself.

Another useful experiment using the functional identity between eating physical food and "digesting" an interpersonal situation. When you are in a restless mood: angry, depressed, accusing someone, that is, prone to "swallowing" - voluntarily apply your aggression, directing it to some kind of physical food. Take an apple or a piece of stale bread and pay retribution on it. According to your condition, chew it as impatiently, hastily, viciously, cruelly as you can. But bite and chew, don't swallow!

Exercise 3

Although it is unpleasant, there is no other way to discover what is not part of you in you, except to restore the disgust and the accompanying impulse of rejection. If you want to free yourself from alien inclusions, introjects in your personality, you must, in addition to chewing exercise, by intensifying your awareness of taste, find places where taste is absent and restore it. Be aware of changes in taste during chewing, differences in structure, texture, temperature of food. By doing this, you will surely revive the disgust. Then, as with any other painful experience that is your own, you must accept and acknowledge it. When the impulse to vomit finally appears, follow it. It feels terrible and painful just because of the resistance. A small child does this with ease; immediately afterwards he is happy again, freed from the alien matter that disturbed him.

Exercise 4

Here's a simple exercise to get you started on stiff jaw mobility. If you notice that you often clench your teeth or are in a state of stern determination, instead of working with ease and interest, let your upper and lower teeth meet lightly. Keep them uncompressed and not open. Focus and wait for development. Sooner or later, your teeth will start to chatter, as if from cold. Let it develop - if it does - into a general trembling excitation through all the muscles. Give freedom to this state until everything shakes and trembles. If you succeeded in this experiment, use the opportunity to increase the freedom and range of motion of the jaw. Close your teeth in various positions - incisors, front molars, back molars, and at this time squeeze your head between the jaws and ears with your fingers. When you find painful points of tension, use them as places of focus. If you achieve a general trembling in this or other experiments, use this to completely release the rigidity - to the point of dizziness or to the cessation of tension.

Try the opposite - tightly clench your teeth in any position, as if biting. This will create painful tension in the jaws, which will spread to the gums, mouth, throat, eyes. Focus on the tension pattern and then release your jaws as suddenly as you can.

To restore mobility to a stiff mouth, open it wide when you speak, and then "bite" your words. Throw them out like bullets from a machine gun.

Exercise 5

In this exercise, breathing and thinking (inner speech) are coordinated. Talk to yourself (silently, internally), but addressing a specific audience, maybe one person. Be mindful of your speech and your breathing. Try not to leave words in your throat ("mind") as you inhale; release breath and thoughts at the same time. Notice how often you hold your breath, you will again see how much in your thinking is from one-sided interpersonal relationships, and not exchange; you are always lecturing, commenting, judging, or advocating, investigating, etc. Look for the right rhythm of speaking and listening, the rhythm of giving and taking, exhaling and inhaling. (This coordination of breathing and inner speech- although this exercise alone is not enough - it is the basis of stuttering therapy.)

Method 7. “Working with projection. Projection detection»

Exercise 1

The fear of rejection is very important for all neurotics, so we can start the exercises with it. The picture of rejection - first by parents, and now by friends - is created, played out and maintained by the neurotic. While this may be justified, the opposite is also true - the neurotic rejects others for not living up to the fantastic ideal or standard that he or she prescribes for them. Since he has projected his rejection onto others, he may, without feeling any responsibility for the situation, consider himself a passive object of unjustified hostility, ill will, and even revenge.

As for you, do you feel rejected? By whom? Mother, father, sister, brother? Do you hold a grudge against them for this? On what grounds do you reject them? How do they not meet your requirements?

Call in the fantasy of someone you know. Do you love him (or her) or don't you? Do you like or dislike this or that trait or way of his actions? Visualize him and talk to him out loud. Tell him that you accept this and that in him, but you don’t want to endure this or that anymore, you can’t stand it when he does this, etc. Repeat this experiment many times. Do you speak unnaturally? Clumsily? Confused? Do you feel what you say? Does anxiety appear? Guilt? Are you afraid that your sincerity can irreparably spoil the relationship? Be convinced of the difference between fantasy and reality: it is these two things that the projector usually confuses.

Now the crucial question: Do you feel that you are rejecting it, for the same reasons that you consider yourself rejected? Do you feel like people look down on you? If so, can you remember times when you looked down (or wished you did) others? Do you reject the very traits in yourself that you think others reject you for? Skinny, fat, with crooked teeth - what else do you not like about yourself? Do you think that others despise you for these shortcomings as much as you do yourself? On the other hand, do you notice how you attribute to others qualities that are undesirable in yourself? When you deceive someone, don't you say, "He almost deceived me!"?

Exercise 2

Consider your verbal expressions. Translate them as from one language to another: replace all sentences in which “it” or other impersonal words are the subject, and “I” is a minor member of the sentence, replace with those where “I” will be the subject. For example: "I remembered that I had an appointment" change to: "I remembered that I had a meeting." Put yourself at the center of the assumptions that concern you; for example, the expression: “I have to do this” means: “I want to do this”, or: “I don’t want to do this and I won’t, but I make up excuses for myself”, or: “I am holding back from something else ". Also change sentences in which you really should be the object into ones in which you experience something. For example: "He hit me" to: "He hit me and I'm hit"; "He tells me" in: "He tells me something and I listen to it."

Carefully consider the content of this "it" in such terms; translate the verbal structure into a visual fantasy. For example: "A thought came to my mind." How did she do it? How did she go and how did she enter? If you say, "My heart hurts," are you hurting for some reason with all your heart? If you say, "I have a headache," are you tensing your muscles in such a way that you create a headache - maybe even intentionally?

Listen to other people's language and try to translate it in the same way. This will clarify a lot for you in their relationship. At the same time, you will begin to understand that in life, as in art, although what is said is important, structure, syntax, style are even more important - they express character and motivation.

Method 8. “Working with projection. Assimilation of projections"

Exercise 1

In order to dissolve the irrational "conscience", two steps must be taken. First, translate a phrase like: "My conscience or morality requires ..." into: "I demand of myself ...", that is, translate the projection into retroflection.

Second, reverse the latter in both directions, i.e., "I demand of X" and: "X (for example, society) demands of me." One must distinguish between the actual demands and expectations of society both from one's personal demands and from one's introjections. See how you behave as you become "conscience." Find fault? Grumble? Do you threaten? Are you blackmailing? Throwing bitter, offended glances? If you focus on these fantasies, you will see how much of "moral duty" is your own sneak attack, what partly introjected influences are, and how much of these demands are rational.

Method 9. "Group work"

As in other group techniques, after completing each of the exercises described below, the trainer asks all participants to sit in a common circle. This is followed by a discussion of the exercise, focusing on two aspects: first, the process of doing the exercise (how the participants did it and how they felt) and second, the content (what the participants were talking about while doing the exercise). As with many things, the process is more important than the content, and sometimes the trainer may decide to only discuss the process. The trainer should help the group find ways to relate the knowledge gained from this exercise to the participants' personal or professional lives. If possible, the coach also participates in the exercise.

After discussing the exercise, everyone is asked to spend a few minutes discussing their plans for the near future: what they are going to do on vacation, on vacation, on weekends, upcoming "outings", etc. This procedure allows participants to step back from the exercises a little and return to their "normal" roles.

Exercise 1. "I and the object"

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Introduction

According to the humanist concept, the true essence of a person is the freedom to shape and reshape one's life and identity. Personality is in a continuous process of change and development. People are "open systems" continuously interacting with environment, perceiving facts, developing and changing as the creative processing of an endless stream of information.

The most appropriate metaphor for defining a person in humanistic approaches is the image of a river. Her essence at any given moment is affected by where she has been, where she is going, where she is and what has happened or will happen to her at any period of the past or future.

Humanists believe that if events early childhood continue to influence an already adult person, this happens because the person himself, as the author of his own destiny, still (often unconsciously) allows them to influence him. Personality is mainly what is created within us through experience, and also what a person actively maintains through choice. The emphasis on development, change, and choice means that humanistic approaches focus on creativity and the achievement of the individual's full potential. Closely related to the humanistic therapeutic approach are the existential approach, client-centered and gestalt therapy. In spite of general approaches, each of them has its own goals and mechanisms of therapy.

1. Gestalt therapy

Gestalt therapy is an existential, experiential (experiential) and experimental approach in psychotherapy and counseling, which aims to expand a person's awareness and through this achieve greater intrapersonal integrity, fullness and meaningfulness of life, improve contact with the outside world in general, and with people around.

In psychology, gestalt is understood as a specific organization of parts that makes up a certain whole. The experiments of Gestalt psychologists (Gestalt psychology is a direction of psychological thought that arose at the beginning of the 20th century and proceeded from the fact that the analysis of parts cannot provide an understanding of the whole) showed that human perception is not determined by the mechanical summation of external stimuli, but has its own organization. In its perception, the body chooses what is important and interesting to it. Gestalpsychologist Kurt Lewin developed the theory of the psychological field. Its essence is that behavior is determined by the integral configuration of a person's living space, the balance between the needs of the organism and objects of the external environment.

The theoretical discoveries of Gestalt psychology were applied to the practice of psychotherapy by Fritz (Frederick Solomon) Perls (1893-1970). In the 40s of the XX century. psychoanalyst Frederick Perls thought about creating own system psychotherapy. At that time, he was not satisfied with many provisions of contemporary psychoanalysis, in particular, the predominantly intellectual nature of processing the patient's problems, orientation to the past, the patient's passive position in the process. psychoanalytic treatment. The result of his joint reflections with colleagues, which included his wife Laura Perls, Isidore Frome, Paul Goodman, was the book Gestalt Therapy. To explain human behavior, Perls and his colleagues used the ideas of Gestalt psychology, such as the concept of figure and ground dynamics, concepts of integrity human body and that the organism and its environment are a single field. Perls also used some philosophical ideas - the ideas of phenomenology, a philosophical trend that arose at the beginning of the 20th century. and insisting on the need to explore things as they are presented in consciousness, and the ideas of existentialism about the freedom and responsibility of man, the existential meeting I - You.

In general, the theory of Gestalt therapy is based on the following provisions: A person is a holistic sociobiopsychological being. Any division of it into its component parts, such as mind and body, is artificial. A person and his environment are a single gestalt, a structural whole, which is called the organism/environment field. The environment influences the organism, and the organism transforms its environment. With regard to the psychology of interpersonal relationships, this means that, on the one hand, we are influenced by the behavior of the people around us, on the other hand, if we change our behavior, then those around us are forced to change. Human behavior according to the theory of gestalt therapy is subject to the principle of formation and destruction of gestalts. A healthy body functions on the basis of self-regulation. An urgent need arises and begins to occupy the dominant attention of the organism - the figure appears from the background. Further, the organism searches in the external environment for an object that is able to satisfy this dominant need. Rapprochement and adequate interaction with the object leads to the satisfaction of the need - the gestalt is completed and destroyed. Contact is the basic concept of Gestalt therapy. An organism cannot exist in an airless space, as well as in a space devoid of water, plants and living beings. A human being cannot develop in an environment devoid of other people. All basic needs can only be met in contact with the environment. The place where the organism meets its environment is called the boundary of contact in Gestalt therapy. The extent to which a person is able to satisfy his needs depends on how flexible he can regulate the contact boundary. Gestalt therapy describes typical violations of the contact boundary, which make interaction with the environment, including interpersonal, ineffective. Awareness - awareness of what is happening inside the body and in its environment. Awareness is not identical to intellectual knowledge about oneself and the world around. It includes both the experience of perception of stimuli of the external world, and internal organismic processes - sensations, emotions, as well as mental activity - ideas, images, memories and anticipations, i.e. covers many levels. It is awareness, as opposed to rational knowledge, that provides real information about the needs of the organism and about the environment. The main goal of practicing Gestalt therapy is to expand awareness. Gestalt therapy proceeds from the fact that if people achieve a clear awareness of the internal and external reality, then they are able to solve all their problems on their own. Therefore, therapy does not aim to change behavior, behavior changes itself as awareness grows. Responsibility - the ability to respond to what is happening and choose your reactions. Real responsibility is connected with awareness. The more a person is aware of reality, the more he is able to be responsible for his life - for his desires, actions. The phenomenological approach in Gestalt therapy is realized through the fact that the therapist respects both the subjective experience of the client and his own personal subjective experience. The Gestalt therapist does not attach any specific meaning to the client's experiences and behavior; in the process of awareness, the client himself discovers their meaning.

The main goal of Gestalt therapy is to achieve the fullest possible awareness of oneself: one's feelings, needs, desires, bodily processes, one's mental activity, as well as the fullest possible awareness of the outside world, primarily the world of interpersonal relationships. Gestalt Therapy does not seek immediate behavioral change and rapid resolution of symptoms. Removal of symptoms or behavior change achieved without sufficient awareness does not produce lasting results or leads to new problems in place of old ones. As a result of Gestalt therapy, the client acquires the ability to consciously choose his behavior, using various aspects of his personality, to make his life more fulfilling, to get rid of neurotic and other painful symptoms. He becomes resistant to the manipulation of other people and is able to do without manipulation himself, in other words, he learns to stand on his own feet.

From the very beginning of its development, Gestalt therapy has assimilated techniques drawn from different therapeutic systems. So Perls actively used psychodrama techniques, adapting them for his own purposes. Later, Gestalt therapists borrowed the techniques of body therapy, dance therapy, various kinds art therapy (drawing, music therapy). In a Gestalt session, the therapist can use any technique, but the use of techniques is subject to the strategic goals of Gestalt therapy. Gestalt sessions are capable of evoking violent emotional experiences, giving the experience of a new feeling, in general, the therapeutic process is a long, painstaking work that can last from months to years. This is due to the fact that awareness is not always pleasant, but often painful, and we tend to interrupt it. It takes time to work through all the necessary avoidances of awareness. However, certain positive results can also be obtained by participating in short-term therapeutic courses or intensive group trainings.

Gestalt therapy is a universal psychological method that is applicable to a wide range of human problems. Areas of application of modern Gestalt therapy: clinical psychotherapy; family therapy; trainings for people striving for personal growth and improvement of communication; trainings for representatives of various professional groups (for example, teachers, managers); gestalt pedagogy; consulting organizations.

Normal self-regulation involves full awareness. Perls distinguishes three zones of awareness: the external world, the internal world of the body, the world of thoughts and fantasies. The latter should be an intermediary between the external and the bodily world, but in neurosis it is distorted by traumatic experience and rather interferes with self-regulation. Perls distinguishes 5 mechanisms of violation of the process of self-regulation.

1) Confluence - a complete merger, expressed in the erasure of boundaries between the "I" and the environment, conformity and symbiosis.

2) Introjection - passive assimilation of someone else's. The earliest introjects are parental teachings, uncritically learned and indistinguishable from one's own convictions.

3) Projection - attributing one's own to another. At the same time, a person alienates his inherent qualities that do not correspond to his I-concept. The "holes" formed as a result of the projection are filled with projects.

4) Retroflection - "turning on yourself." Occurs during the blockade of needs, with the transformation interpersonal conflict into intrapersonal, which is accompanied by muscle clamps.

5) Deflection - chaotic connections with others with avoidance of real contacts, replacing them with ritual forms of communication, talkativeness, smoothing out conflicts.

These mechanisms in the process of psychotherapy act as resistance. Modern authors additionally describe such types of resistance as proflection, egotism and depreciation. Proflection is a combination of projection and retroflection, while a person does to another what he would like to receive from him for himself, i.e. the request is retroflexed, and the need is projected to the address of the other. Egotism protects a person from intimate contacts with other people, and depreciation helps to relieve oneself of responsibility for the results of one's activities, including positive ones.

As a result of the action of the described mechanisms, the personality is fragmented, divided into simplified dichotomies: male - female, active - passive. Dependence - alienation, rationality - emotionality, selfishness - disinterestedness, etc. In a series of such dichotomies, Perls attaches particular importance to such a game as "Dog on top - Dog below", i.e. attacking and surrendering start. A fragmented personality is diagnosed, in particular, by a mismatch between verbal and non-verbal manifestations. Methods of Gestalt therapy (in recent years - in combination with transactional analysis), are widely used in group therapy of neuroses and psychosomatic disorders, in family therapy, and for personal development. The goal of a Gestalt group is to teach group members to pay attention to current experiences so that they can become aware of and integrate alienated aspects of their personality. The tasks of the Gestalt group consist in the assimilation of introjects, the replacement of projections with direct self-expression, the weakening of retroflexive tension, the establishment of purposeful equal ties with others.

There are five main functions of the Gestalt group:

1) a means of psychological support for participants;

2) the basis for participants to experience the "here and now";

3) the conditions for the participants to realize the experience they are experiencing "here and now";

4) the group as an active partner individual work each member of the group;

5) a group as a dynamic and actual process of interpersonal relations.

The therapeutic process moves from the surface to the depths, passing through four levels:

1) Cliche where actions are replaced by rituals.

2) Role playing with the search for a suitable partner according to the scenario.

3) Deadlock, when a person finds himself without a role and experiences a feeling of emptiness and fear of death (anti-existential level or phobic avoidance level).

4) Internal explosion (of suppressed feelings: grief, anger, joy, orgasm).

gestalt psychological holistic

2. Basic concepts of Gestalt therapy

The main concepts of Gestalt therapy include: figure, background, awareness, focus on the present, polarity, protective functions, maturity, and a number of others.

The relationship between figure and ground. In the process of self-regulation, out of all the information, a person chooses the one that is most important and significant for him at the moment. Actually, this is what makes up the figure. The rest of the information is temporarily relegated to the background and acts as a background. Perls applied this proposition to describing the functioning of personality. Often the figure and background change places, which is the basis of self-regulation of the psyche.

A need, feeling or thought can act as a figure, which at the moment prevails over all the others. As soon as the need is satisfied, its significance is lost and it is relegated to the background.

Sometimes a need cannot be met for some reason. In this case, the gestalt remains incomplete, unreacted and, accordingly, cannot give way to another. An unsatisfied need can cause many unfinished problems, which after a while begin to have a negative impact on current mental processes and even lead to neurotic manifestations. The task of the Gestalt therapist is to help the patient recognize his need, form a clearer gestalt, and ultimately neutralize it.

Awareness and focus on the present. The main condition necessary in order to form and complete a gestalt is the ability of a person to be aware of himself and his dominant need at the moment. Awareness and focus on the need is an important principle, called "here and now". Perls taught: “There is nothing but what is here and now. Now there is the present... The past is no more. The future hasn't arrived yet."

In order to recognize a state of balance or its disturbance, as well as to find what is necessary to restore this balance, a person must first of all be aware of himself. Here the concept of "awareness" is used in a broad sense, covering such semantic categories as "know", "distinguish", "give an account". The integrating flow of information, which forms the basis of self-regulation, begins at the level when the thought is not yet clothed verbally. Considering the organism and the environment as a whole, Perls, at the same time, emphasized that there is a boundary of contact between the individual, his internal and external environment. In a healthy person, this boundary is mobile, which gives him the opportunity to both contact with the environment and move away from it.

Contact is accompanied by the formation of a gestalt, withdrawal, respectively, by its completion. The driving force of the “contact-withdrawal” rhythm is considered to be the dominant need, to limit, complete or neutralize which all the efforts of the body are directed.

It should be noted that in order to satisfy his needs, a person must constantly be in contact with the zones of his inner and outer world. In the neurotic personality, this self-regulating fluidity of boundaries is disrupted as it encounters incompletely formed and unfinished gestalts.

Neuroses arise as a result of the individual's concentration on the middle zone, the fantasy zone, when events occurring in the inner and outer zones are excluded. The fantasy zone carries unfinished gestalts from the past, and since the destructive nature of these gestalts manifests itself in the present, it is quite difficult for a neurotic to live in it. Perls argued that the roots of neurosis lie in the tendency to fantasize and intellectualize where one simply needs to be aware of the present. Self-regulation of the body depends on the degree of awareness of the present and the ability to live here and now. The point of Gestalt therapy is not to explore the past in search of masked, repressed traumas, but to help the patient focus on present awareness and live in the present.

To be aware means to fix attention on the figures constantly appearing and disappearing in one's own imagination. Perls wrote that a person has three zones of awareness: awareness of oneself (inner zone), awareness of the world (outer zone) and awareness of what lies between you and the world (third zone). Perls introduced the concept of "responsibility", behind which is the ability of a person to be responsible for what is happening and choose a strategy of behavior. According to the author, the more clearly a person realizes reality, the more he is able to be responsible for his life, for his desires, actions, in other words, to rely on himself.

Polarities or opposites. Opposites, according to Perls, do not just exist, but are in a state of constant contradiction, struggle among themselves. The struggle of opposites is the inner content, the source of human development and regulation of his behavior.

Each of us can both love and hate at the same time, experience a sense of joy and grief, that is, experience the ambivalence of our feelings. It is important to understand that these opposites are not unacceptable, but on the contrary, help to form and ultimately complete the gestalt. Only when we are fully aware of the opposite poles of our "I", our aspirations and desires, then we begin to realize ourselves more deeply.

The opposition of the polar sides of our "I", "attacker" and "defender", which should coexist together, is most common in Gestalt therapy. The attacker, like Freud's "super-ego" or consciousness, is characterized by authoritarianism, complacency, and exactingness. The "defender" takes a defensive position, makes excuses, feels his impotence.

In the course of therapy, the struggle between two similar opposites coexisting in the patient is often discussed. This type of group work is called the “self-flagellation game”. When the “attacker” and “defender” wage their struggle within us, we feel guilty, we become passive, depressed, incapable of making decisions.

The concept of opposites can be applied to the functioning of the personality. Personality is considered as a kind of holistic formation, consisting of two components - "I" and "It". When an individual acts on impulses from the realm of the "I", he is able to differentiate himself and others. A similar rigid barrier in our experience, the border of the "I", arises so that we can feel our uniqueness, non-identity with the rest of the world. When an individual acts on impulses from the id area, he becomes closely connected with his environment, the boundary of the 'I' becomes vague and flexible, and a sense of identity with the outside world may even appear. These mutually complementary aspects of the functioning of the personality are precisely responsible for the formation and completion of gestalts. Aspirations from the "I" area allow you to more clearly distinguish the figure from the background, to form it; in turn, aspirations from the “It” area complete the gestalt and return the figure to the background environment.

Maturity. Perls defines maturity as mental health, as the ability to move from external environment to self-reliance. In order to achieve health, the individual must overcome his desire to receive support from the outside world and find any sources of support in himself. The main condition for self-reliance is a state of balance. The condition for achieving balance is awareness of the hierarchy of needs. The self-regulation of the self-reliant individual is characterized by free, flowing and distinct formation of gestalts. This, according to Perls, is the path to maturity and health. If the individual has not reached maturity, then he, instead of trying to satisfy his own needs and take responsibility for his failures, is more inclined to manipulate his environment.

Maturity occurs when the individual mobilizes his internal resources to overcome frustration and fear arising from the lack of support from others. A situation in which a person cannot take advantage of the support of others and rely on himself is called a dead end. Maturity lies in the ability to take risks in order to get out of a life or situational impasse. Some people who are not able, and often unwilling, to take risks, thereby taking responsibility for the final result, take on the protective role of the “helpless” for a long time.

3. Basic principles of Gestalt therapy

To understand the essence of Gestalt therapy, consider the basic principles, which, unlike other principles of this kind, do not represent a collection of rigid, directive instructions. They only provide preliminary directions for behavior and conditions that favor or not the expansion of awareness of the situation and the most complete contact with the environment and oneself.

The principle of "now" or "here and now." The principle of "now", or concentration on the present moment, is perhaps the most important principle of Gestalt therapy. It originates in the traditions of Zen Buddhism and a number of other Eastern practices, which, with the thoroughness and thoroughness inherent in Perls, were studied by him. The essence of this principle is that during the session, the therapist often asks to determine what the patient is currently doing, feels what is happening to him and around him at this moment. In the event that material appears in the course of work related to any important aspects of the personality, efforts are made by the therapist to transfer this material to the present.

The principle of "me and you" reflects the desire for open and direct contact between people. Patients very often send their statements regarding others to the wrong address, thereby revealing their fears and unwillingness to speak directly and unambiguously.

Fear of contact, its avoidance, superficial or distorted communication with others support the patient's sense of isolation and loneliness. Therefore, during the session, the therapist encourages participants to make attempts at direct contact and communication, insisting on addressing specific statements to specific individuals whom they concern already in the first phase of work. At the same time, immediate situations are organized aimed at establishing contact between individuals through a series of short verbal and non-verbal exercises in pairs and triplets.

The principle of subjectivization of statements. This principle is associated with the responsibility and involvement of the patient in what is happening. Quite often people talk about own body, feelings, thoughts and behavior from a certain distance, being, as it were, on the sidelines. That is, a patient's conflict is artificially created with the problems that are essential for him to avoid responsibility for his own decision, and ultimately for himself. Paying attention to the form of the utterance can help the patient to see himself as a subject, and not as an object alienated from himself, with which various things that are not related to him are “done” or “happened”.

Continuity of awareness. Awareness as the basis of therapeutic work means deliberate concentration on the spontaneous flow of the content of experiences, complete control of what is happening at the moment. This method leads the individual to own experience and the rejection of endless verbalizations, clarifications and interpretations of the situation. Awareness of feelings, bodily sensations and observations represent the most definite part of our knowledge, which creates the basis for the orientation of a person in his inner world and in the connections of the "I" with the environment. Using awareness helps shift the focus from the question of "why" to the question of "what" and "how" happens. Since each action can have many causes, the clarification of all these causes leads further and further away from understanding the essence of the action itself.

4. Gestalt therapy methods

In Gestalt therapy, there are general principles for constructing a psychotherapeutic process. They concern, first of all, certain speech constructions.

1. The use of the pronoun "I" instead of "we", "he", "they".

2. Replacing the verb “I can’t” with “I don’t want”, “I must” with “I prefer”.

3. Finding out what is behind the word "it".

4. Using direct address instead of describing someone in the third person.

5. Replacing the question "why" with the question "how", which does not allow you to go into reasoning, but turns to feelings.

6. Replacing a question with a statement.

Such constructions are based on the basic idea of ​​Gestal therapy that language creates a gap between thoughts and feelings, person and environment. The language fixes human experience, but at the same time it makes it possible to transmit introjects. In the process of interaction with society, a person is increasingly moving away from his feelings. The verbal construction “should” is of particular interest for the work. Moreover, what a person "should" is assessed as good, and what he wants, respectively, as bad. Thus, people learn to act in accordance with the norms, to evaluate their experiences on the basis of standards, some taboos that have been established in society. One such technique for working with speech is called "The Power of Speech". Expressions like “I have to…”, “I can't…”, “I don't need…” and “I'm afraid…” deprive you of strength, ability to act and responsibility. There are many opportunities to live full life, and only your confidence in your inability to live as you want prevents this. By changing the way you speak, you will take an important step towards increasing your responsibility for your own thoughts, feelings, and actions.

Another language construct used in Gestalt therapy is finding cause and effect relationships to justify oneself. “I lived in the wilderness as a child, didn’t play with children, so it’s difficult for me to make contact and get to know people,” says the client. He has created a certain law for himself and unconsciously strives to follow it in every situation. All other aspects of the situation, especially feelings, desires, sensations, are simply ignored by him.

In Gestalt therapy, the so-called shuttle technique is very popular. In response to the client's story, the therapist says, "Are you aware of this sentence?" Thus the client moves from speaking to listening, from description to feeling, from past experience to present, from vague feelings to real, present emotion. Providing successive translations, the psychotherapist directs attention to current feelings, creates conditions for improving contact with reality. The technique of "Walking in a circle" "rondo" creates a condition for expressing a certain attitude or feeling directly to each participant in the process, which often allows you to more differentiatedly determine your own experiences and connections with others. Repeating a phrase that expresses a deeply rooted belief over and over can change its meaning and content for the patient. The performance of such “rounds” in a group may also include non-verbal actions (facial expressions, gestures, locomotion).

“Unfinished business” is usually applied at the very beginning of working with a client. It is intended to complete all sorts of situations and actions started in the past. Most people have many of these unfinished questions related to interpersonal relationships with parents, relatives, friends, colleagues, etc. According to Perls, the most common types of unfinished relationship questions are complaints and grievances that have never been voiced. Such unfinished business requires concentration and unproductively consumes the patient's energy, as he constantly returns to them. In this game, the patient is asked to complete a task that was previously unfinished.

"I have a secret." In this game, an exploration of guilt and shame is undertaken. Each participant is asked to think of some important and well-kept personal secret. The therapist asks participants not to share these secrets, but to imagine how others might react if these secrets became known to them. The next step might be to give each participant an opportunity to brag to others about "what a terrible secret he is keeping within himself." Quite often it turns out that many unconsciously are very attached to their secrets as something meaningful to them.

"Rehearsal". Often the lack of success in actions in specific life situations is determined by how this person in the imagination prepares to meet these situations. Such training in thought and imagination often takes place in accordance with rigid and ineffective stereotypes, which are a source of constant anxiety and even destructive behavior. Rehearsing behavior aloud in a psychotherapy group with the involvement of other participants allows you to better understand your own stereotypes, as well as use new ideas and ways to effectively solve them.

"Checking the Ready Opinion". Sometimes, some vague, vague message, some kind of understatement, is caught in the words. Then you can use the following formula: “Listening to you, I have one opinion. I want to invite you to repeat it out loud and check how it sounds in your mouth, how it suits you. If you agree to try, repeat this opinion to several members of the group. This exercise contains the factor of interpretation of the hidden meaning of the patient's behavior, but the therapist does not try to communicate his interpretation to the patient, he only provides him with the opportunity to explore the experiences associated with testing the working hypothesis. If the hypothesis proves fruitful, the patient can develop it in the context of his own activities and experiences.

"Direction of Behavior". In a number of situations, through instructions and indications of what can be done at the moment, the patient is invited to perform certain actions. Such instructions, of course, do not determine how the patient should act in life, they only indicate the direction of specific behavior during therapeutic work. Such an experiment causes certain experiences that can change the patient's point of view on his previous behavior, experiences, relationships with people.

"Homework". The actions of the patient and the therapist during the next sessions do not create the full conditions necessary for deep therapeutic changes. They are a source of important experiences that mobilize the process of change. However, they require continuation and development in conditions Everyday life. Therefore, the Gestalt therapist continues to cooperate with the patient outside the therapy room. The patient's homework should be aimed at solving his problem.

The technical procedures of therapy are called games and represent experiments with different roles, identifications with significant feelings, alienated subpersonalities and introjects. The goal of games is to close gestalts; the criterion for achieving the goal is "aha-experience" (cf. insight). Some exercises are performed in pairs, subgroups or the whole group.

To expand the boundaries of contacts, apply special exercises: prolonged chewing, repeated opening and closing of the eyes, focusing the gaze, looking around, listening to the sound of speech, repeating what was said, feeling one's own movements (for example, rotation of the eyes, head, pelvis). At the same time, trust in another person is increased by joint exercise: touches, mutual pushes, etc. Relaxation, breathing exercises, body therapy techniques, psycho-gymnastics, and dance therapy are also used.

Metaphors are widely used in Gestalt therapy. An example is the integration metaphor. The shuttle method reveals the conflicting subpersonalities of the participant. At the same time, the participant alternately sits either on the “hot” chair, reproducing his dominant part, or on the “empty chair”, where he speaks on behalf of the repressed part. After that, at the same distance from the "hot" and "empty" chair, a third chair is placed, on which the participant sits. He takes everything good (qualities, skills) from the first chair with his left hand, then everything good from the second right hand. After that, the hands join, the integration of subpersonalities begins. The same metaphor can be visual: imagine a bag that contains everything necessary for the cooperation of both parts.

The following metaphors are most often used in Gestalt groups: - A group as a building in which each participant acts as a part of it. - A group on a world tour changes vehicles. - A group is like a kindergarten, a school, a company, a prison. - The group is like a communal apartment. - The group enacts a funeral ritual for a member who is concerned about his own mortality. - The group is like a zoo and homeless animals. - The group participates in the carnival. - A group as a human or animal organism. - The group acts out the process of conception of a child, development of the embryo and birth. - The group depicts human development at different ages.

Much attention is paid to fantasies and dreams, which are transferred to real ground, at the present time, with the return of the personality of those fragments that were projected onto fictional images. The main goals of fantasizing are contact with unacceptable events, feelings or personal qualities, contact with an absent person or unfinished situation, exploration of the unknown, exploration of new or unknown aspects of the personality. Dreams are considered as a projection, as an opportunity to realize actual relationships with others and the therapist in order to understand the existential position of the individual. Transference analysis is replaced by a focus on contact: with one's own functions, with the therapist, with group members. Working with a contact goes through a number of stages: identifying needs; an attempt to satisfy a need; mobilization of internal struggle; approval of the theme (combining need and resistance); impasse (crisis); catharsis; insight; recognition (pleasure from a new perception of oneself and the environment).

Bibliography

1. Akhmedov T. Introduction to general psychotherapy: Tutorial. - M.: AST, 2005. - 414 p.

2. Perls F. Gestalt Approach and Witness Therapy. - M.: Libris, 1996. - 240s.

3. Psychological Dictionary/ Ed. V. Davydova and others - M ..: Pedagogy, 1983. - 448s.

4. Todd J, Bogart A.K. Fundamentals of clinical and advisory psychology. - M .: Eksmo-Press, 2001. - 761s.

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Modern existential psychotherapy has many directions, one of which is Gestalt therapy.

The purpose of this therapy is the awareness of the individual in an effort to increase self-esteem, fullness and meaningfulness of life, increase actions that are aimed at improving communication and interaction with other people.

life situations

To understand the essence of this concept, we can take as an example life situations that can occur in every person:

  • A woman spends all her time at work, and even at home, all conversations are related to her activities. The husband is offended by this situation.
  • A mother who is constantly busy with the problems of her children, distracted by extraneous thoughts, made a mistake in the working documentation.
  • While walking down the street, your head is busy thinking about broken feelings or a missed romance, without noticing a traffic light, you go to a red light.

Thus, a person, living in the inner world, thinking about what is unnecessary for him, lives an extraneous life. His memories and thoughts do not allow him to be in real time, to live real emotions.

Or, on the contrary, everyday fuss moves a person away from his dream or goal. Instead of focusing on this, we do unnecessary, vain things.

We live either in memories that sometimes bring us suffering, or we are chasing a phantom - a dream that is unlikely to come true. As a result, this leads to divorces, heart attacks, diseases, ulcers, or dismissal from work. Having mastered the technique of Gestalt therapy, you will be able to filter situations that are unnecessary for you.

History reference

This teaching was developed by Fritz Perls (1893-1970). He was a psychiatrist with great experience, he developed a method for treating people with mental illness. But already during the lifetime of the scientist and to the present, Gestalt therapy has grown from a psychotherapeutic teaching into something more. Now this therapy is used in all spheres of life, as it helps to resolve difficult situations in life.

Fritz Perls himself argued that a person is a holistic creature, and not its assembled parts. Physical, spiritual and social aspects must merge into a single person.

Each problem must be solved not from the cause, but from its awareness. It is worth asking a question about how a person feels at the moment and how this can be changed, and not looking for the guilty and not wondering why this happened. Perls therapy aims to be aware of life in the moment, here and now, to live fully in the present moment, not in the past or the future.

In 1951, Fritz Perls, with his two colleagues Paul Gooden and Ralph Hefferlin, wrote his work Gestalt Therapy, Arousal and the Growth of the Human Personality. In 1952, the Gestalt Institute was established in the US city of New York. Back in 1913, the scientist began to study medicine from a philosophical point of view. Fritz Perls' reference book was Freud's Psychoalnaliz.

What is Gestalt Therapy?

The gestalt therapist does it. Through suggestion, he focuses the patient on the state of "here and now", turning him into every moment of the present. A person begins to realize himself in real time, he has a sense of responsibility, he begins to experience feelings and emotions now and here.

The main methods of Gestalt therapy when working with clients:

  • Focusing energy.
  • Awareness of responsibility.
  • Art therapy. Application of creativity and art in this treatment.
  • Monodrama. It uses role-playing games, performances, which allows a person to live dramatic situations in a new way.
  • Intersection of work with other types of psychotherapy, such as the "hot chair" technique.
  • Gestalt prayer, etc.
  • Body Oriented Therapy. It allows you to know your body and understand that the soul and body are one.

There are other ways to work with patients, but the main methods of the Gestalt therapy technique have been presented above.

Principles of this technique

basis this doctrine made the following concepts and principles:

  • Integrity. It should be understood that a person is a holistic creature. Dividing it into the psyche, soul and body is not able to help him in understanding his inner world.

  • The principle of creation and destruction of Gestalt therapy structures. It is based on the needs and desires of the individual. When the goal is achieved, the destruction of the gestalt occurs.
  • The meaning of the pumped-up gestalt, methods and techniques of therapy. There are in people's lives and unfinished life situations that negatively affect their psyche. In Gestalt sessions, the therapist helps the patient to become aware of his unfinished business, mentally complete it or bring it closer to completion. A person transfers this experience to everyday life, which allows him to cope with many negative situations.
  • Contact and its boundary. A person is constantly in contact with visible things - the environment, people, animals, etc. There are also invisible contacts - energy, bioenergy, psychological fields, the presence of various information in life. The place of contact of a person with all these species is called the contact boundary. The task of the existing therapy is to create favorable conditions precisely at the border of such contacts.
  • Awareness of reality. What is meant here is not that man knows his nature and the world. And the realization that he is here and now. Realize it not with the mind, but with the feelings. Live not with a mechanical consciousness, when all situations and emotions occur unconsciously, but move based on your inner content.
  • Finding here and now. Understand that all the important moments in life are happening right now. By focusing our minds on the past or the future, we miss the present moment. The past is already far away, and the future has not yet come, so a person is in illusions, forgetting about the present.
  • The concept of responsibility. This is an important quality of the individual, which comes from his awareness. If people begin to realize the real reality, then their sense of responsibility will be developed. It is very important to take responsibility for yourself, and not blame it on others.

In Gestalt therapy, there are general principles for constructing a psychotherapeutic process. They concern, first of all, certain speech constructions. Some of them are listed below.
1. The use of the pronoun "I" instead of "we", "he", "they".
2. Replacing the verb “I can’t” with “I don’t want”, “I must” with “I prefer”.
3. Finding out what is behind the word "it".
4. Using direct address instead of describing someone in the third person.
5. Replacing the question "why" with the question "how", which does not allow you to go into reasoning, but turns to feelings.
6. Replacing a question with a statement.

Such constructions are based on the basic idea of ​​Gestal therapy that language creates a gap between thoughts and feelings, person and environment. The language fixes human experience, but at the same time it makes it possible to transmit introjects. In the process of interaction with society, a person is increasingly moving away from his feelings. The verbal construction “should” is of particular interest for the work. Moreover, what a person "should" is assessed as good, and what he wants, respectively, as bad. Thus, people learn to act in accordance with the norms, to evaluate their experiences on the basis of standards, some taboos that have been established in society.

As an example, we give one of the techniques for working with speech, which is called "The Power of Speech". Sit face to face with a partner, and, looking into his eyes, address him with three statements beginning with the words "I must ...". Now return to the original statements beginning with “I have to…” and replacing them with “I decided…” leaving the second part of each sentence the same. Pay attention to your feelings as you say these phrases. Now listen to your partner pronounce these phrases, beginning with "I've decided...". Give time to share experiences.

After that, together take turns starting phrases with the words "I can't ...". Listen to your partner when he talks about what he can't. Then remember your statements and repeat them, beginning with the words "I don't want to ...", leaving the second part of the phrase unchanged. Listen to your partner as he makes his statements, beginning with "I don't want to...". Share your impressions and see if you have realized your ability to give a decisive refusal, replacing indecision and impotence in situations that require certainty.

After that, say three sentences in turn, beginning with the words "I need ...". Then repeat these phrases, but starting with the words "I want ...". Re-share your experiences and see if replacing “need” with “want” has led to a sense of relief and freedom. Ask yourself if what you were talking about is really necessary for life or without it, although it seems useful, you can do without.

Finally, exchange lines beginning with "I'm afraid..." and replacing them with "I wish...", leaving the second part of each phrase unchanged. Share your experience with a partner.

Expressions like “I have to…”, “I can't…”, “I don't need…” and “I'm afraid…” deprive you of strength, ability to act and responsibility. There are many opportunities to live life to the fullest, and only your belief in your inability to live as you want prevents it. By changing the way you speak, you will take an important step towards increasing your responsibility for your own thoughts, feelings, and actions.

Another language construct used in Gestalt therapy is finding cause and effect relationships to justify oneself. “As a child, I lived in the wilderness, did not play with children, so it is difficult for me to make contact and get to know people,” says the client. He has created a certain law for himself and unconsciously strives to follow it in every situation. All other aspects of the situation, especially feelings, desires, sensations, are simply ignored by him.

In Gestalt therapy, the so-called shuttle technique is very popular. In response to the client's story, the therapist says, "Are you aware of this sentence?" Thus the client moves from speaking to listening, from description to feeling, from past experience to present, from vague feelings to real, present emotion. Providing successive translations, the psychotherapist directs attention to current feelings, creates conditions for improving contact with reality.

Walking in a circle (“rondo” creates a condition for expressing a certain attitude or feeling directly to each participant in the process, which often allows you to more differentiatedly define your own experiences and connections with others. Repeated repetition of a phrase expressing a deeply rooted belief can help change its meaning and content for The performance of such “rounds” in a group may also include non-verbal actions (facial expressions, gestures, locomotion).

“Unfinished business” is usually applied at the very beginning of working with a client. It is intended to complete all sorts of situations and actions started in the past. Most people have many of these unfinished questions related to interpersonal relationships with parents, relatives, friends, colleagues, etc. According to Perls, the most common types of unfinished relationship questions are complaints and grievances that have never been voiced. Such unfinished business requires concentration and unproductively consumes the patient's energy, as he constantly returns to them.

In this game, the patient is asked to complete a task that was previously unfinished. For example, if the heart of the matter is an unexpressed feeling towards a member of the therapeutic group, then the patient is asked to express it directly. If a we are talking about resentment, then a game is offered in which communication is limited to statements beginning with the words: "I am offended ...".

"I have a secret." In this game, an exploration of guilt and shame is undertaken. Each participant is asked to think of some important and well-kept personal secret. The therapist asks participants not to share these secrets, but to imagine how others might react if these secrets became known to them. The next step might be to give each participant an opportunity to brag to others about "what a terrible secret he is keeping within himself." Quite often it turns out that many unconsciously are very attached to their secrets as something meaningful to them.

"Rehearsal". Often the lack of success in actions in specific life situations is determined by how this person in the imagination prepares to meet these situations. Such training in thought and imagination often takes place in accordance with rigid and ineffective stereotypes, which are a source of constant anxiety and even destructive behavior. Rehearsing behavior aloud in a psychotherapy group with the involvement of other participants allows you to better understand your own stereotypes, as well as use new ideas and ways to effectively solve them.

"Checking the Ready Opinion". Sometimes, some vague, vague message, some kind of understatement, is caught in the words. Then you can use the following formula: “Listening to you, I have one opinion. I want to invite you to repeat it out loud and check how it sounds in your mouth, how it suits you. If you agree to try, repeat this opinion to several members of the group.

This exercise contains the factor of interpretation of the hidden meaning of the patient's behavior, but the therapist does not try to communicate his interpretation to the patient, he only provides him with the opportunity to explore the experiences associated with testing the working hypothesis. If the hypothesis proves fruitful, the patient can develop it in the context of his own activities and experiences.

"Direction of Behavior". In a number of situations, through instructions and indications of what can be done at the moment, the patient is invited to perform certain actions. Such instructions, of course, do not determine how the patient should act in life, they only indicate the direction of specific behavior during therapeutic work. Such an experiment causes certain experiences that can change the patient's point of view on his previous behavior, experiences, relationships with people.

Homework. The actions of the patient and the therapist during the next sessions do not create the full conditions necessary for deep therapeutic changes. They are a source of important experiences that mobilize the process of change. However, they require continuation and development in the conditions of everyday life. Therefore, the Gestalt therapist continues to cooperate with the patient outside the therapy room. The patient's homework should be aimed at solving his problem.



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