History
Panos Mavitzis, the inspirer and creator of the Technique, is a psychotherapist.
2004 was the year in which synchronicity chose for him to take on as his analysands, two actors.
The following year, he took on even more actors and directors, always in a personal psychotherapeutic basis.
The artists, in order to have a deep understanding of the roles which they were going to embody or to discover new directions for the staging of their plays, discussed, during their individual sessions, about the psychic background of the roles found in the specific plays.
Most of the time though, the artists instead of being in contact with the true psychic structure & emotional pattern of the role, they experienced their own emotions, fantasizing how they would feel if they were the role, where as the objective always is that the artist should become the role on stage and not be himself, while behaving as the role would.
Thus, there was a need for an artist to be able to distinguish between the true psychic structure & emotional pattern of the role and his own, in order to be capable of leaving his personal emotional charges off-stage.
Wanting to broaden the spectrum of his work with the artists, Panos Mavitzis decided to include them in the group therapy sessions he was leading, in which the attendants were not just artists but also regular analysands of his.
The artists had the opportunity to embody roles (characters), which would spring from the personal issues that the other analysands would bring to these sessions.
Because the roles (characters) where basically the various participants of the sessions, hence analysands of the instructor, their psychic structure and emotional pattern of emotions were well known.
This gave the artists the opportunity to have an immediate feedback, both from the instructor, but also from the role himself (the corresponding analysand in the session), on whether or not they embodied the role correctly, while leaving their emotional parts out of their performance.
Thus, from these group sessions and in time, the Psychotheatrology Technique were born.
Throughout the following years and in the premises of the Technique, various Greek artists have been exposed to the Psychotheatrology technique, both on an individual and on a group level.
But, the frame of operation strictly forbids the mention of any names or the disclosure of any audio/video materials from the workings, in order to protect the sensitive personal data of the participants that come up during the education’s sessions.
2004 was the year in which synchronicity chose for him to take on as his analysands, two actors.
The following year, he took on even more actors and directors, always in a personal psychotherapeutic basis.
The artists, in order to have a deep understanding of the roles which they were going to embody or to discover new directions for the staging of their plays, discussed, during their individual sessions, about the psychic background of the roles found in the specific plays.
Most of the time though, the artists instead of being in contact with the true psychic structure & emotional pattern of the role, they experienced their own emotions, fantasizing how they would feel if they were the role, where as the objective always is that the artist should become the role on stage and not be himself, while behaving as the role would.
Thus, there was a need for an artist to be able to distinguish between the true psychic structure & emotional pattern of the role and his own, in order to be capable of leaving his personal emotional charges off-stage.
Wanting to broaden the spectrum of his work with the artists, Panos Mavitzis decided to include them in the group therapy sessions he was leading, in which the attendants were not just artists but also regular analysands of his.
The artists had the opportunity to embody roles (characters), which would spring from the personal issues that the other analysands would bring to these sessions.
Because the roles (characters) where basically the various participants of the sessions, hence analysands of the instructor, their psychic structure and emotional pattern of emotions were well known.
This gave the artists the opportunity to have an immediate feedback, both from the instructor, but also from the role himself (the corresponding analysand in the session), on whether or not they embodied the role correctly, while leaving their emotional parts out of their performance.
Thus, from these group sessions and in time, the Psychotheatrology Technique were born.
Throughout the following years and in the premises of the Technique, various Greek artists have been exposed to the Psychotheatrology technique, both on an individual and on a group level.
But, the frame of operation strictly forbids the mention of any names or the disclosure of any audio/video materials from the workings, in order to protect the sensitive personal data of the participants that come up during the education’s sessions.