Envisioning Astrodrama
In my undergraduate studies at the Ateneo de Manila University, I had the most profound experience of drama’s potential for therapy. Of course in every piece of art has their own therapeutic value, but it was this piece for me that sparked a flame that would burn much brighter in the years to come.
I took part in an original musical Real Life Fairytales which explored mental illness and trauma, the stories written by students with the intention to “sublimate trauma into art”. It proved to be very powerful in that it allowed many of those whose voices had been silenced to feel they were not alone and to open up about their own experiences of trauma. While putting up the production was a success, it opened up many unexpected wounds in our audience and cast members, leaving many struggling to contain the situation therapeutically. Perhaps, what was lacking was the trauma-informed process and support. While there was a partnership made with the university’s psychological services, since they were not fully involved in the process, support was only provided after the production. It soon became my first mission to fill the gap in this process and find ways to safely and clinically used theatre to achieve therapeutic goals.
Cindy (myself), Allie (Marga Crisostomo) and Ariel (Rion Reyes) concocting an instant weight-loss potion in "Skinny" by Gabbi Campomanes against Anissa Aguila's magical set and Miyo Sta. Maria's fantastical lights
It was at this same time that I developed an interest for astrology, after finding belonging and understanding from it amidst a strictly Catholic background. Curiosity led me to apply for a course in reading birth charts, then practicing reading for my friends, family, and anyone and everyone interested. It was in my university carpool that they created my pen name: Monch the Mystic. I then asked myself: What if I could combine both astrology and drama to aid in a person’s healing? Wouldn’t that be so powerful? Below are connections I’ve made this past year in my drama therapy MA studies and astrology education with New York Astrologer- Rebecca Gordon.
Jung and Astrology
What is astrology? Simply stated, “astrology is the practice of interpreting the meaning of observed correlations between human experience and the positions, interrelationships, and cycles of the planets (including the sun and the moon) in the solar system” (Rossi, S., & Le Grice, K., 2018, p. 3). Despite astrology’s reputation for being a pseudo-science, Jung proved that it indeed complemented the study of psychology. The Swiss psychologist and psychiatrist recognized that astrology could be used as an important tool for self-growth and self-awareness. In a letter to the Hindu astrologer, B.V. Raman on the 6th of September of 1947, Jung wrote:
Since you want to know my opinion about astrology, I can tell you that I've been interested in this particular activity since more than 30 years. In cases of difficult psychological diagnosis I usually get a horoscope in order to have a further point of view from an entirely different angle… From such experiences I formed the opinion that astrology is of particular interest to the psychologist, since it contains a sort of psychological experience which we call 'projected' - this means that we find the psychological facts as it were in the constellations. (Jung, 1951, p. 47)
Jung believed that we get to know ourselves and heal our souls through rediscovery and connection with the archetypal world, and that we interact with this world through symbols. Astrological planets are archetypal symbols, and our birth charts are a unique map of our soul that can illuminate the relationship between our conscious and unconscious mind. By understanding the symbols in our unconscious through dreams or through the planetary archetypes in our birth chart, we can take steps to break free of our more compulsive, repetitive, “default” patterns of behavior.
What is Drama Therapy?
According to North America Drama Therapy Association, "Drama therapy can be defined as the intentional use of drama or theatre processes to achieve the therapeutic goal of symptom relief, emotional and physical integration and personal growth" (n.d.). It is a practice that is both active and experiential allowing the participant to tell their stories, set goals, solve their problems, express feelings, or achieve catharsis. The basic treatment goals are stated by The British Association for Dramatherapists:
Dramatherapy is a means of helping to understand and alleviate social and psychological problems, mental illness and handicap; and of facilitating symbolic expression, through which man may get in touch with himself both as individual and group, through creative structures involving vocal and physical communication ( Landy, 1986, p. 58)
Emunah (1983) describes the goals of drama therapy as "increasing social interaction, facilitating the release and control of emotions, changing nonconstructive behavioral and role patterns, developing spontaneity, imagination, and concentration, bolstering self-esteem and self-confidence" (p. 77).
Landy (1986) points out that setting goals for a specific client can be a matter of collaboration between client and therapist, and specific goals must always "take into account the physiological, psychological, sociological, and environmental dimensions" (p. 45). Specific goals must allow for individual differences, but, in general, the drama therapist's goal is "to increase the client's repertoire of roles and his ability to play a single role more fully" ( p. 44). In order for this to happen, a flexibility and a change in awareness and behavior at both the personal and the social levels is necessary.
Drama Therapy and Jung’s Analytical Psychology
Landy (1986) asserted that Jung’s archetypes is especially suited to drama therapy in its personal view of the archetype as part of the scenario of one’s life as well as its universal view. The archetypes serve “as a kind of classical drama that embodies the essential themes for human existence” (p. 23). Additionally, Jung’s notion of active imagination, of translating images into expressive forms, provides a model for all the creative arts therapies. In extending the structures of the personality into the dramatic archetypes of persona and shadow, anima and animus, Jung further provides a model for drama therapy as a means for working through mask and role and engaging in dialogue with various parts of one’s psyche. The personal account of one’s own life history, and the universal quality of fairy tales, myths, and legends are indeed aspects of drama therapy practice. Enacting the archetypal imagery of myths engages the complexes that live in the unconscious, and that the improvisatory enactment of myths in an emotionally distanced drama therapy context might evoke repressed, traumatic memory complexes with cathartic results (Knott, 1995, p. 7).
Building the Resource: The Birth Chart and Drama Therapy
The astrological birth chart could be used as an assessment and counseling tool in that it helps the person name, explore, and expand their repertoire of roles. As Howard Sasportas (1985) asserted, “The chart symbolically portrays our own unique reality, inner pattern, and inner design. A knowledge of the chart enables us to perceive those things which we would naturally be doing, if we had not been frustrated by family, society, by the ambivalences of our own nature” (p. 18). Used as a starting point in drama therapy for adolescents and young adults who have been victims of violence, the birth chart can help them rediscover their purpose in life.
As Ridder-Patrick (2006) explained, “the gift of astrology is that it provides an objective map of a subjective reality. This allows clients, with the help of the astrologer who functions as map reader, to distance themselves from their own situation and view it from the outside, giving them quite a different and freeing perspective. They then have a measure of control and choice over whether or not they remain in whatever circumstances they find themselves.” This description is strikingly similar to Landy’s (1986) description of distancing. He mentioned that “The drama therapist helps the client reach spontaneity through balancing the distance between person and persona, self and other. In the moment of spontaneity, at aesthetic distance, the unconscious is accessible. In this balanced state, the client is able to give form to repressed feelings without being overwhelmed by them” (p. 106). Thus, it is drama therapy core processes of projection and distancing that allow a client to act more spontaneously, gaining access to imagination and possibility.
Dramatic projection uses projective techniques which are strategies used to access “presumably hidden content and emotions using visual stimuli and imagery”, facilitating the expression of what is difficult to articulate by “circumventing cognition, rational thought, and normative responses” (Porr, Mayan, Graffigna, Wall, & Vieira, 2011, p. 31). Of particular interest is Linzey (1959)’s classifications of projective techniques particularly the expressive techniques. The expressive projective technique involves individuals being directed to respond to a situation through self-expression: drama, role-playing, and dance. These techniques make it possible for them to form a connection with their experiences in “novel and as yet unrefined ways” (Porr, Mayan, Graffigna, Wall, & Vieira, 2011, p. 31). Landy (as cited in Jones, 2007) explains that projection should not be seen as a defense mechanism as explained from the classic Freudian position and the work of Yalom (2005) but can be used to create a “balanced form of therapeutic dramatisation” (Jones, 2007, p. 140).
The Chart Brought to Life: Astrodrama
Kirby (1997) hypothesized, “Drama therapy, psychodrama, and Gestalt therapy all combine easily with astrology, providing a direct experience to participants ” (p.11). Astrodrama, which adapted from Moreno’s psychodrama includes also the idea of a protagonist (whose scene is reenacted), a director, and the group facilitator and is considered one of the richest ways of getting to know more about the interplay of planetary energies in a birth chart (Ridder-Patrick, 2006) . In astrodrama, “a group can act out the whole chart of one of its members with other members taking on the roles of the different planets in their respective signs and houses. The dialogue that ensues between actors can reveal very real inner dilemmas to the protagonist” (Kirby, 1997, p.12). The personal account of one’s own life history, and the universal quality of fairy tales, myths, and legends are indeed aspects of astrodrama and drama therapy practice. Enacting the archetypal imagery of myths engages the complexes that live in the unconscious, and that the improvisatory enactment of myths in an emotionally distanced drama therapy context might evoke repressed, traumatic memory complexes with cathartic results (Knott, 1995, p. 7).
While astrodrama’s origins are from psychodrama, techniques from dramatherapy are also used. Kirby (1997) explained that drama therapy incorporates props such as make-up, masks, and costumes, and many of those working in astrodrama have included the methods of drama therapy in their work. In astrodrama, each group member is asked to play a part of themselves, enacting a particular planet in their own chart. There is no script. Part of getting into the role is the whole ritual of putting on make-up and selecting a costume. Once in touch with their role, group members spend time making contact with others in the group who are each in their own different roles. (p. 12). This process allows participants to see how aspects of themselves operate in many different situations. The work was said to be emotionally powerful and illuminating. Schermer (1998) further distinguishes classical drama from psychodrama. He considered classical drama’s aim to bring about a catharsis in the audience and psychodrama’s aim to invite catharsis in the actors. In astrodrama, a more performance-oriented form, the aim is directed toward the audience but when used “as a means of personal growth, it may have all the intensity and immediacy of a psychodrama” (Schermer, 1998, p. 96). However, it is explained that in either mode, what distinguishes astrodrama is the distinct advantage of being informed by the “map of the psyche” otherwise known as the astrological birth chart.
Brooks (as cited in Jones, 2007) asserted that a “mask is the expression of somebody unmasked.” He further explained that this “second skin” is what allows a client to present an aspect of themselves that would usually be repressed within an individual (p.153). In astrodrama, Schermer (1998) explains that mask making can be used to experience the birth chart alone or with a group, masks move you into more intimate contact with the pure planetary archetypes. Masks create a more open channel between astrological archetypes and the psyche. Using them as a kind of shield of invisibility, we can suddenly be free to express ourselves without fear or judgement by others. (p. 85). Thus in astrodrama, the charts come alive and give participants the opportunity to encounter and work through inner conflicts directly.
The roles in astrodrama consist of the director — the person whose chart is being enacted and who designs the astrodrama, the “planets” of the zodiac who are the participating actors chosen by the director, and the facilitator who supports the actions of the director by intervening when necessary to focus the drama (Shermer, 1998). The process includes chart analysis, assignment of planets, establishment of a goal and role-playing order, planet preparation where planets divide into the aspect group and briefly discuss how they might enact the aspect, setting of the stage, the drama itself, closure and feedback. The process is very much similar to the process of projection. The inner conflict and problematic material in Jones (2007) takes place in the chart analysis of astrodrama. The projection into dramatic material takes place in the assignment of planets done in astrodrama. The exploration aspect of projection parallels astrodrama’s establishment of a goal and role-playing order, planet preparation where planets divide into the aspect group and briefly discuss how they might enact the aspect, setting of the stage, and the drama itself. The process of insight in projection is similar to the closure and feedback in astrodrama. As in projection, one becomes a witness and director of their lives in the astrodrama. They become the hero in their journey rather than being whisked around by external pressures and voices.
Application
In my introduction to drama therapy class at New York University, I attempted to facilitate my very first astrodrama using Ida’s birth chart. The reason for my doing this is that there was already trust and chemistry between us through my reading of her birth chart a few days before. As the facilitator, my role involved asking for her complete birth day, birth time, and city of birth, and using an online chart generator to create her chart as seen in Figure 1.
Figure 1. Astrology chart of Idalmis Garcia
After doing an analysis of Ida’s chart and a consultation, we picked an archetypal story that surfaced in the reading. I asked her, “what has been going on with you lately?” Ida immediately said, “I am dealing with my resistance to change.” Immediately I knew the planets I should assign would be the Sun (the self) and Saturn (restriction and a representation of the “cross” we carry). In her chart they were in opposition or conflicting with each other as seen in the long red lines in Figure 1 in the middle of the chart. It was time to bring it to life. I had her pick two people to each play the Sun and Saturn and she picked Amanda and Chelsi respectively who had scarves to use as props. I explained the role each actor would be taking. As the Sun, Amanda would have to embody sign Aries- the warrior and trailblazer as seen in Figure 2.
As Saturn, Chelsi would have to embody the sign Libra- the peacemaker and equalizer. I instructed Ida and the class to direct and participate in the sculpt with Amanda and Chelsi.
Figure 3. The Astrodrama Sculpt
Figure 3 shows how sculpt created by Ida from the astrology aspect “Sun in Aries opposition Saturn in Libra”. In other words, the relationship between the Aries self who wants to initiate and trail blaze is in conflict with a restricting energy of Libra who wants to maintain the peace. I spoke, “Now that we know that this tension will always exist, what can we do to make it better?”. The class suggested that Chelsi and Amanda step closer together to relieve the tension. While the tension still existed, Ida now felt more in control of it as it did not feel so strong anymore. Ida opened up about her experience, “ I felt seen, felt understood. I realized how much restriction I had in my past that doesn’t define me. I realize then that I could do better and change patterns. I gained insight, knowledge, and reassurance. I achieved hope.”
While astrodrama is a field that has not been widely researched or practiced, the similarities to projection and distancing in drama therapy are very much evident. Through both processes of projection and distancing in rebodying the birth chart, the client is allowed to express the unexpressed. As Brunn (2012) put it, “Through exploring and creatively developing the specific metaphopic realm, the client seems to be able to access their unconscious in a safe way” (p. 147) which is similar to what Ida experienced in her astrodrama. Through bringing to life archetypes and their relationship in a person’s life in a birth chart, one is able to experience more viscerally the conflict or tension in one’s life, gain awareness and more control over it.
To explore your own birth chart through Astrodrama, schedule a reading with me.
References
Emunah, R. (1983). Drama therapy with adult psychiatric patients. The Arts in Psychotherapy, 10(2), 77–84. https://doi.org/10.1016/0197-4556(83)90033-3
Irwin, E.C., & Shapiro, M. (1975). Puppetry as a diagnostic and therapeutic tool. In I. Jakab (Ed.), Transcultural aspects of Art: Art and psychiatry, Vol. 4 (pp.86-94). Basel: Karger Press.
Jones, P. (2007). In ebrary I. (Ed.), Drama as therapy theory, practice, and research. London ; New York: Routledge.
Kirby, B. (1997). Experiential astrology: Symbolic journeys using guided imagery. Freedom, California: The Crossing Press.
Knott, C. E. (1995). Archetypal enactment in drama therapy (Order No. 9528295). Available from Dissertations & Theses New York University; ProQuest Dissertations & Theses Global. (304210298). Retrieved from http://proxy.library.nyu.edu/login?url=https://search-proquest-com.proxy.library.nyu.edu/docvie w/304210298?accountid=12768
Landy, R. (1986). Drama therapy: concepts and practices. Springfield, MO: Charles C. Thomas.
North American Drama Therapy Association. (n.d.). What is drama therapy? Retrieved from https://www.nadta.org/what-is-drama-therapy.html
Ridder-Patrick, J. (2006). A handbook of medical astrology. Edinburgh, UK: CrabApple Press.
Rossi, S., & Le Grice, K., (2018). Jung on astrology. C. G. Jung (Ed.). New York, NY: Routledge.
Sasportas, H. (1998). Understanding the importance of the twelve houses in your astrological birthchart. London England: Flare Publications.
Schermer, B. (1998). Astrology alive: A guide to experiential astrology and the healing arts. Freedom, California: The Crossing Press Inc.