PROFESSIONAL RESISTANCE TO PSYCHODRAMATIC INVOLVEMENT

Abstract

Does the psychodramatist demonstrating before professional audiences face any special kinds of resistance, which in turn affect the nature and quality of the psychodrama? To what extent are these resistances within the members of the audience? Why? How do they affect the psychodrama? How is the problem complicated by the presence of lay persons or students? What, if anything, can be done about the problems?