No posts.
No posts.


In this series of videos, we give you a tour of some of the most commonly used modules of dramatherapy theachings and performances available at Dramatherapy Workshop FreeMind
in Rome.


Cine-Dramatherapy, A Special Party

Creative Drama & In-Out Theatre, present On Cine-Dramatherapy Stage “A SPECIAL PARTY”, Taken From "RUDOPH", A Dramatherapy Play Written and Realised by BY E. Gioacchini Let the Party start! These are Claude and Mary. They participate in Sara’s Birthday. Georgia is already in with the other guests. She is in conflict with her boy-friend, Rudolph. He will come later. Mary -We’re always late! Claude -Honour guests are always wanted! Mary -How elegant you are! Hold on a second…let me… Georgia -(opening the door) Here I am! Hi guys! How smart you both are! Saraaa... guess what? Two special! Sara -Oh friends… Wacht out! This is my place, not Giorgia's! Georgia -Home made pastries! Help yourself! Sara has a party once a year... Claude –Delicious… Georgia -Robert, anything else? Robert -Yes...thanks. What about Rudolph, where is he? Georgia -He will be here soon... Robert -You much I miss those amazing moments... with him...reading and that vintage wine! Sara -Georgia, Rudolph is here! Robert, pay attention… Giorgia is kidnapping you! Georgia -Well...I'll go to rescue your friend! Rudolph has come Georgia –Welcome Darling!! Rudolph -Flowers for you! Sara -Thank you, really beautiful... Giada -Please, take off your overcoat. Come on Rodolfo, join the party! -The Party goes on- Rudolph -Georgia...sorry...I'll go to get a tissue... Dialogue between Rudolph and Georgia Rudolph has got back the tissue. He is going to leave, but just then Jane comes and there a short conversation takes place. Suddenly Georgia comes in. She is surprised to see them together, especially upset to realize a sort of complicity between them. She is hurt really bad. Jane -What are you doing here…all by yourself? Rudolph – Here only for a few seconds…I need a tissue. Jane - I see..with all that confusion, voices, music and food! You don’t love these things too much Rudolph. Do you?! In the while, Georgia that has been standing at the door entrance and hearing all, comes in, watching Rudolph right in his eyes and giving her backs to Jane. Georgia – (raising the voice) And what do you love Rudolph? You don’t love much confusion, friends…and what do you love? Rudolph –Well, now it’s not the right moment Georgia…Jane was just saying that… Georgia –Jane? Good Jane…that loves so much to be close to you, telling you how much she’s sympathetic…How much she is like you! Good…cause she always more silently tries to be noticed…Really courageous, my compliment, also while I’m here! Jane, really upset, leaves the room. Georgia -(talking to Jane) Right, good…go, go… Rudolph –You’re saying foolish things! She has only said two words and you are making up all this story… Georgia –Right, too much for you…But what do you know of two, ten, thousand words? For you words are a treasure…not to be wasted. What do you know about that. You are…few words, few smiles, little confusion…you are modest! Actually…I’m realizing…I don’t know what you would say if you will able to have some affairs with… Georgia –Now you are exaggerating! You are shouting…maybe they are hearing all over there… Georgia –And let them hear it! Jane will have already told everything to them…Stop it…with that dull face as I were mad! I’m not mad! I’m just tired…(Georgia starts to cry) Tired of your silence, to understand when you are with me or if you aren’t, if I talk too much and sometimes to feel even embarassed if I’m glad! Rudolph –You glad? Sometimes you are besides yourself…as now! I’m tired too. I came here especially for you, but you get excited if I just speak with a common friend! Georgia –Excited, you say? At least I’m alive! You, on the contrary, you are dampened! Get rid of that sad expression, always trying to gain sympathy for your damned background! Open your eyes, mouth and stop to escape from the world… You’re not the “snowman” anymore! I don’t want you to look at me like this! Look at yourself! (Thanks to Carlotta Casalini for the translation)

LOS POSATIGRES A Dramatherapy Play written and directed by E. Gioacchini

Taken from Historias De Cronopios Y De Famas, by Julio Cortazar
Posar el tigre no es demasiado difícil, aunque puede
ocurrir que la operación fracase y haya que repetirla; la verdadera dificultad empieza en el momento en que ya posado, el tigre recobra la libertad y opta —de múltiples maneras posibles— por ejercitarla.

(...) Para nosotros el hecho en sí de posar el tigre no es
importante, sino que la ceremonia se cumpla hasta el final sin transgresión. Es preciso que el tigre acepte ser posado, o que lo sea de manera tal que su aceptación o su rechazo carezcan de importancia.

(...) Posar el tigre tiene algo de total encuentro, de alineación frente a un absoluto; el equilibrio depende de tan poco y lo pagamos a un precio tan alto, que los breves instantes que siguen al posado y que deciden de su perfección nos arrebatan como de nosotros mismos, arrasan con la tigredad y la humanidad en un solo movimiento inmóvil que es vértigo, pausa y arribo. No hay tigre, no hay familia, no hay
posado. Imposible saber lo que hay: un temblor que no es de esta carne, un tiempo central, una columna de contacto. Y después salimos todos al patio cubierto, y nuestras tías traen la sopa como si algo cantara, como si fuéramos a un bautismo.

Theatre & Dramatherapy: Los Posatigres

Drammaterapia: "il fissatigre"

Riduzione Drammaterapica da "il fissatigre" di J. Cortazar Regia di E. Gioacchni

Theatre & Dramatherapy, Bluebeard -part1-

Gilles de Rais & Perrault's character dancing over the Horror of Humanity. Actors & Director face their fears & promises

Theatre & Dramatherapy, Bluebeard -part 2-

Gilles de Rais & Perrault's character dancing over the Horror of Humanity. Actors & Director face their fears & promise

Theatre & Dramatherapy, Bluebeard -part3-

Theatre & Dramatherapy, Bluebeard -part 4-

Teatro & Hypnodrama: Anton P. Cechov

Frammento di un'Intervista a Trigorin da "Il Gabbiano" di Anton P. Cechov

Theatre and Cinema-Dramatherapy: Chekhov on dance


Theatre and Dramatherapy help people to face their fears

Panico e Teatro

Julio Cortazar ed il Paradosso che Cura

The Princess and the Frog

An Hypnodrama directed by E. Gioacchini

Hypnodrama Performances: Behind the Shadow

Preambulo a las instrucciones para dar cuerda al reloj, J. Cortazar.

You don't fill in time, you build it. That's why sometimes it disappears and reappears again. Setting up the Clock "I'm Grain of Millet...I'm late. No one tells me the time. Late...late." "Oh, it's very late, I'm late! Can you tell me the time?" You don't fill in time, you build it. That's why sometimes it disappears and reappears again. Dramatherapy...movement, dance, music and acting...of a part of you that never stops growing!

Theatre & Cinema: Chekhov on Dance

From Theatre –through Psychodrama- to Hypnodrama -december 2007-

Creative Drama & In-Out Theatre presents Rodolfo, The Only Survivor: A Family disappeared into the Mouth of a Bear.-Any reference to real places or people, living or dead, is entirely accidental- A Hypnodrama written and producted by E. Gioacchini MD Psychodrama’s steps: The Walk and Talk. Director:"What do you want to happen in this drama?Reenactment. The protagonist and director decide who will be the characters in the drama: "What do you want to come away with from this drama?”. The protagonist and director also determine where the drama will take place. A dramatic approach to subcounscious: Hypnodrama The core function of Psychodrama & Hypnodrama is to create spontaneity in a group setting that allows people to address trauma.

Hypnodrama: Fragment of an Interview to Boris Alekseyevich Trigorin, "A Love as Invention"

A Hypnodrama by "The Seagull" Anton Chekhov, directed by E. Gioacchini, founder of Creative Drama & In-Out Theatre -Rome. There's a lake on whose beaches waves of love and ambition break. But, after all, I'd like to say ... just love. The background music is Folk like that used in films about the Western Frontier. Here the characters are discovering love; they are inventing it and forgetting it and putting it to sleep. The old uncle and Trigorin, but both disenchanted. One has never really touched love; the other made it into a pedestal for his Ego: "Dream and Drama of Love". Uncle Sorin meets Boris Trigorin and an unforseable interview springs out, an intense hypnodrama. Director:"Uncle, hello, you should also talk to Trigorin, who is a guest in this house” Chekhov joins in the discussion. Director:"Sorin, closer to Trigorin! Good! Trigorin, helps Uncle Sorin to run the interview"Chekhov, help the Uncle, whom you know so well!" Chekhov:"Trigorin, did you really love your Nina so deeply? If this is so, then what drove you to going back to Arcadina?" Sorin: "Did you want to avoid the toil of love?" Trigorin: "I don't know if I wanted to avoid it, but it happened" Fog, like love over that lake slips in silently and confuses the characters, takes away the shadows from from their actions cancells the traces. Sorin: "And what about your art? Do you always trust your skills as a writer?" Trigorin: "I cannot betray... art, in art there is no comparison" Director: "You take notes...observe...write..." "If so, then what drove you to going back to Arkadina?" In Hypnodrama the main method for modifying one's state of consciousness and leading to a creative process is 'improvisation'. Here improvisation is used in a ritualised context, with prescriptions -commands - binding the subject to enter the part assigned to them. The constant process of overlapping, which progressively introduces new scenic elements such as the presence of Chekhov -at the end the camera itself becoming an interlocutor- ,ratifies the actor in their part beyond any possibility of critical intervent Uncle Sorin, and Trigorin himself, are over-ruled by the hypnotic process of light trance. Paradoxically, the only possibility they have of dominating it is to keep on using it in creative terms. And now two main questions: "Trigorin did you really love your Nina so deeply? And where are you going?"

Hypnodrama, The Princess and the Frog: "What a nonsense!”

realised and directed by E.Gioacchini MD Now, some story before the video from the collection of folk tales by the Brothers Grimm. One fine evening a young princess put on her bonnet and clogs, and went out to take a walk by herself in a wood... when she came to a cool spring of water with a rose in the middle of it, she sat herself down to rest a while… Now she had a golden ball in her hand, which was her favourite plaything... …and she was always tossing it up into the air, and catching it again as it fell.. ...and the ball bounced away...until at last it fell down into the spring. "I would give my fine clothes and jewels, and everything that I have in the world". She began to cry and said, "Alas! If I could get my ball again..."Whilst she was speaking, a frog put its head out the water, and said... "I do not want your pearls, and jewels, and fine clothes... …but if you will love me... I will bring your ball again" "What nonsense", thought the princess "this silly frog is talking"... Hypnodrama The Frog was confused by the new, unknown and unespected contact. He withdrew in hymself and, from time to time, he would come out and observe ...that strange, bright being called Princess. There was a crossroad dragging him backwards and forwards at the same time. He didn't know yet that he wouldn't be the same anymore...He could sense something new, something less and less threatening...Then "curiosity" won. The tenacity of that gaze and of that flattery won. Being able to familiarise with the a journey.We fear that there might not be turning backbut the journey happens inside us. Eventually, the contact woke them both to an encounter inside them... She. the Princess, was entering his dream...He, the Frog, was coming out of the sleep of unconsciousness... ...which became hands, and arms, and kiss... (by Hypnodrama Workshop in Rome) "Nunc, fabularum cur sit inventum genus, brevi docebo. Servitus obnoxia... quia quae volebat non audebat dicere, affectus proprios in fabellas transtulit, ...calimniamque fictis elusit iocis" -Fedro- Thanks to Emanuela and Luigi (actors)