Diagnosis by methods of art therapy. What does art therapy give? Projective drawing game art therapeutic methods

Sections: Working with preschoolers

The interpretation of a drawing is both a mysterious game and a scientific work.

P. Brutsche

In order to understand the elements of art therapy techniques in the context of diagnosing preschool children, we need to analyze several particular issues:
- firstly, what is art therapy as a method of work;
- secondly, to describe art therapy as one of the types of art therapy;
- thirdly, to identify the diagnostic possibilities of art therapy, and art therapy in particular.
Let's move on to the issues.

Art therapy art. In other words, art therapy is a line of work that is based on art and creativity. In the narrow sense of the word, art therapy usually means visual art therapy, which aims to influence the psycho-emotional state of the client.
Artistic creative activity is considered in AT initially as a therapeutic process, intended, figuratively speaking, for the “healing of the soul”.

At the same time, foreign and domestic experts emphasize the significant diagnostic potential of the creative products of participants in the AT work, which allows you to express inner, deep feelings, to see the bright individuality of the individual.
Personality as a complex, dynamic, plastic formation is characterized by a tendency to continuous changes in its components. The study of these processes is by no means always amenable to formalization, since it affects various characteristics of mental activity, including the spheres of the conscious and the unconscious. Therefore, diagnostics requires the involvement of appropriate systemic and non-linear procedures in nature.

In AT, the diagnostic and therapeutic processes proper proceed simultaneously through fascinating spontaneous creativity. As a result, it is easier to establish emotional, trusting communicative contacts between the parties included in the diagnostic process.

The basis of diagnostic material is visual products. To some extent, this brings AT closer to projective drawing tests. Some authors, E. M. Burno, S. Kratokhvil, A. A. Osipova and others, even distinguish projective AT as an independent variety. Other publications note that AT belongs to the group of expressive projective methods, which is quite justified in terms of the diagnostic capabilities of the pattern. However, AT is certainly a deeper phenomenon.

The art therapy interpretation of drawings is not an end in itself and is not reduced to a quantitative and qualitative analysis of formal elements, although, undoubtedly, the foundations of such work are present. Priority formal components are line, form, color in their interrelated dynamics, as well as other aspects and ways of symbolic expression by means of fine art.

Art therapy allows you to effectively build art therapy interaction with clients of all ages - adults and children.
We will focus in the report on the possibilities of art therapy in relation to children.

Consider the views of famous minds on the value of art therapy technologies.

At one time, K. D. Ushinsky, urging teachers to rely on the characteristics of children's thinking, wrote that childhood is a period of intensive formation of physiological and mental functions. “A child thinks in forms, colors, sounds, sensations in general.” In other words, the work of fantasy manifests itself in visual images, and then in words. Visual work is a safe and natural type of activity for a child, which serves as a “transit space” for him

At the same time, drawing plays the role of one of the mechanisms for implementing the program for improving the body and psyche, and also contributes to the consistency of interhemispheric interaction. V. S. Mukhina and D. N. Uznadze, in their works, pointed out that in the process of drawing, concrete-figurative thinking is coordinated, which is mainly associated with the work of the right hemisphere of the brain, as well as abstract-logical, for which the left hemisphere is responsible. Therefore, many experts consider children's drawing as one of the types of analytical-synthetic thinking. A. A. Smirnov, S. S. Stepanov also pointed out that when drawing, the child, as it were, forms an object or thought anew, graphically formalizing his knowledge, studying patterns relating to the objective and social world.

L. S. Vygotsky saw in visual activity a kind of analogue of graphic speech, because the child’s awareness of the environment occurs faster than the accumulation of words and associations. Drawing gives him the opportunity to most easily express in figurative form what he knows and experiences, despite the lack of words.

K. Rudestam noted in his works that speech arises on the “foundation” of images. In their verbal description, sometimes, especially in children, difficulties arise. Therefore, it is non-verbal means that are often the only way to express and clarify strong feelings and beliefs. "I could draw, but I don't know how to put it into words."

S. Levinshtein, V.S. Mukhina and other researchers also emphasize that drawing for children is not art, but speech. They have a tendency to draw. This is a kind of experimentation with artistic symbols as substitutes for real objects. Through drawing, a person's need for self-expression is realized. It is spontaneous visual activity for the child that is most natural, interesting, and pleasant. It does not require exceptional, strong-willed and intellectual efforts, it is close to the game and therefore does not cause disturbing experiences.

The age from 4-5 years to about ten years is even called the golden age of children's drawing, so art therapy is an integral type of work with a child.

Modern art therapyincludes the following areas:

Isotherapy is a therapeutic effect by means of the fine arts: drawing, modeling, arts and crafts, etc.;
- imagotherapy - influence through the image, theatricalization, dramatization;
- music therapy - influence through the perception of music;
- fairy tale therapy - influence through fairy tales, parables, legends;
- kinesitherapy - impact through dance-motor;
- corrective rhythm (impact by movements), choreotherapy;
- play therapy, etc.

We smoothly moved on to the analysis of the issue of art therapy, as one of the types of art therapy. Consider what is iso-therapy.
Isotherapy is a therapy with fine arts, primarily drawing, is currently used for psychological correction, diagnosis and development.

Fine art allows the child to feel and understand himself, freely express his thoughts and feelings, be himself, freely express dreams and hopes, and also free himself from negative experiences of the past. This is not only a reflection in the minds of children of the surrounding and social reality, but also its modeling, an expression of attitude towards it.
Drawing develops sensory-motor coordination, as it requires the coordinated participation of many mental functions. As we noted above, according to experts, drawing is involved in coordinating interhemispheric relationships, since in the process of drawing concrete-figurative thinking is activated, which is mainly associated with the work of the right hemisphere, and abstract thinking, for which the left hemisphere is responsible.

In other words, we see that art therapy in the broad sense of the word, and art therapy in particular, have a huge diagnostic potential and have some advantages over other forms of diagnostic work. Let's list them.
Firstly, almost every child can participate in isotherapeutic work, which does not require him to have any visual abilities or artistic skills.
Secondly, isotherapy is a means of predominantly non-verbal communication. This makes it especially valuable for those who do not speak well enough, find it difficult to verbally describe their experiences, i.e. children.
Thirdly, visual activity is a powerful means of bringing people together. This is especially valuable in situations of mutual alienation. Difficulty in making contacts.
Fourthly, the products of fine art are an objective evidence of the moods and thoughts of a person, which allows them to be used to assess the state and conduct appropriate research.
Fifthly, isotherapy is a means of self-expression, it implies an atmosphere of trust, tolerance and attention to the inner world of the child.
Sixthly, isotherapeutic work evokes positive emotions in children, helps them open up and overcome apathy and lack of initiative, and form a more active life position.

Possessing multilateral diagnostic capabilities, it can be classified as a projective test.

Consider a couple of simple diagnostic isotherapy techniques as an example:

Emotions and colors. This technique is useful for analyzing the child's drawings. Make a list of the emotions that the person experiences most often. Usually the list includes 6 positive and 6 negative emotions (love, joy, peace, fear, pain, excitement, etc.). Invite the child to draw a circle of a certain color for each emotion. Remember to make sure that the child understands the meaning of the words correctly. Subsequently, you can use the resulting color scheme to recognize feelings and emotions in the child's drawings.

Chaotic drawings. Let the child freely draw "doodles" on paper. This method helps to relieve tension, anxiety and other superficial emotions. And with the help of colors you will understand what mood your child is in, whether he is experiencing excitement or fear.

We draw the body. This technique will help the child to be aware of his own body, and parents - to identify problems in his well-being. In addition, this technique helps to influence health through the subconscious. Invite the child to draw himself, his body, in different colors. Then, using the gamut of feelings, jointly analyze which parts he highlighted and what bothers him. Finish the exercise with a positive drawing "What I want to be."
In conclusion, let us once again indicate that in order to most fully disclose the issue related to the elements of art therapy techniques in the context of diagnosing preschool children, we analyzed several particular issues:
- firstly, we considered what art therapy is, as a method of work;
- secondly, they described isotherapy as one of the types of art therapy;
- thirdly, they outlined the diagnostic possibilities of art therapy, and art therapy in particular.

Summing up the results of the work done, we came to some conclusions:
First, art therapy comes from the English word "art", which means art.
Secondly, visual art activity is considered in AT initially as a therapeutic process, intended, figuratively speaking, for the “healing of the soul”. At the same time, foreign and domestic experts emphasize the significant diagnostic potential of the creative products of participants in the AT work, which allows you to express inner, deep feelings, to see the bright individuality of the individual.

Thirdly, modern art therapy includes the following areas: isotherapy, imagotherapy, fairy tale therapy, kinesitherapy, choreotherapy; play therapy, etc.
Fourthly, isotherapy is a therapy with fine arts, primarily drawing, which is currently used for psychological correction, diagnosis and development.
Fifth, having multilateral diagnostic capabilities of isotherapy, it can be classified as a projective test.
During the analysis of theoretical works on art therapy, we came to the main conclusion that in the context of diagnosing children, art therapy techniques in the broad sense of the word, and isotherapeutic techniques in particular, are effective and informative, because:
- allow you to establish an emotional-confiding relationship with the child;
- allow you to get information about the development and individual characteristics of the child, to identify his hidden needs, opportunities, fears and concerns;
- allow you to observe the child in independent activities, get to know his interests, values ​​better, see the inner world, and also identify problems that are subject to special correction.
- allows you to trace the nature of interpersonal relationships and the real position of each in the team, as well as the features of the family situation, and much more in the course of classes.
That is why isotherapy is popular and in demand today.

Thank you for your attention!
The report is over!

Bibliography:

1. "Art Therapy: Dialogue: Russia-Great Britain" Collection of articles. Islander, 2008. "Art therapy". ed.-st. A.I. Kopytin. SPB., 2001.
2. Betensky M."What do you see? New methods of art therapy." M., 2002.
3. Bogdanovich V."The latest art therapy. What art historians are silent about." Golden Section, 2008.
4. Budza A."Art Therapy: The Yoga of the Inner Artist". Phoenix, 2006.
5. Burno M.E."Creative Self-Expression Therapy". M., 1989.
6. Valdes Odriozola M.- "Art therapy in work with adolescents. Psychotherapeutic types of artistic activity." Toolkit. Vlados, 2005.
7. Vachkov I.V."Art therapy. Development of self-knowledge through a psychological fairy tale". M., 2001.
8. Kopytin A.I."Theory and practice of art therapy". SPb., 2002.
9. Kopytin A.I."Test "Draw a story". St. Petersburg: Speech, 2003.
10. Kopytin A.I."System art therapy". St. Petersburg: Peter, 2001.
11. Kopytin A.I., Svistovskaya E.E."Art therapy for children and adolescents". Moscow: Kogito-Centre, 2007.
12. Williams H."Talking" drawing, or how to know your deep "I". AST, 2007.

The feeling of self-identity is adequate to the formula: "My I am myself."

“I have to play roles and try to do it as best as possible - be it the role of a son, father, husband, artist, etc. These are just the roles that I play, I agree to play; I watch how I play. Therefore I am none of them; I am identical to myself, I am the director in this play, and not just an actor. Figuratively speaking, the performances of the internal theater of the personality are in the center of attention.

So, at the stage of mood (with a certain preparation of the group and sufficient experience of the psychologist), exercises for disidentification can be used.

In one of these exercises, R. Assagioli says: “I am my body, but I am not my body. Every time we identify with a physical sensation (I'm tired - instead of: "My body feels tired"), we are enslaved by the body.

I live an emotional life, but I am not my emotions and feelings. (I have a feeling of irritation.)

I have desires, but I am not my desires. I have an intellect, but I am not my intellect.

So, the body, feelings, mind are the instruments of sensation, perception and action that the Self uses, but the nature of the Self is something else.

Thus, one should speak about the real unity and uniqueness of the “I”, which at the same time manifests itself at different levels of awareness and self-comprehension.

It is much easier to identify oneself with others or understand other people's motives and feelings if the subject is familiar with a sense of his own value (K. Fopel).

Another useful exercise is a kind of game with the letters that make up the name and surname of a person. First, it is proposed to write on a piece of paper your own real name, surname. Make new words from existing letters. Then choose a new name and / or surname, come up with appropriate images and draw an updated self-portrait. You can draw with symbols and abstractions, or use any other means of artistic expression.

Self-portrait techniques in art therapy work help to identify the most significant problems of clients, as well as their ability to accept a different image of “I”. It is believed that the creation of self-portraits is a path to self-affirmation and strengthening of mental identity.

Another option for the mood stage is graphic exercises that have the potential projective tests. For example, the diagnostic technique "Draw yourself" (according to A. M. Parishioners), designed to identify in children of primary school age the features of the emotional and value attitude towards themselves. In the author's version, on an A4 sheet folded in half, the subjects are asked to complete three drawings.

Instruction text:

1. Draw a bad boy (girl).

2. Draw a good boy (girl).

3. Draw yourself.

Three pencils of different colors are provided for the first drawing, three other pencils for the second drawing, and all six pencils of six colors for the third drawing.

The analysis of works is based on comparing the image of oneself with other images. Signs of similarity with a “good” child are scored +1; with "bad" - a score of -1. Absence of similar features - 0. Next, the sum of points is calculated. A positive result indicates self-acceptance, good emotional well-being.

This technique in the context of art therapy can be modified as follows.

"Drawing a Name" To work, you need colored pencils or felt-tip pens and a sheet of A4 paper, divided by thin lines with a simple pencil into three equal parts.

First, participants are asked to visualize a name that evokes negative emotions, for some reason unpleasant, dislikes, and abstractly depict it using color, shape, line. It is important to avoid recognizable images, pictograms, stamp symbols.

The drawing should reflect a spontaneous reaction to the name.

The third drawing is your own name.

Since exact calculations in points are not provided, the instruction does not contain restrictions on the choice of the number of colors and visual means. You can use any colors that, in the opinion of the author, are suitable for this name.

When analyzing each drawing, it is important to take into account the author's own interpretation, which will make it possible to better understand the subjective experience of the draftsman. In other words, verbal feedback is necessary in any form, for example, the procedure “What do you see?” (M. Be-tensky).

I also believe that it is better not to clarify the content of the instruction with comments about which name should be represented (female or male; specific, belonging to a really famous person, or abstract, etc.). This expands the range of personal choice, and the resulting information is valuable for diagnosis.

Thus, one of the participants in the class (23 years old) drew the hated name “Tatiana” for her, while arguing that the visual image is not associated with any particular person. When asked what negative features could be inherent, in her opinion, to this abstract name, the participant answered without hesitation: “She crosses the road for everyone.”

I note that many participants in art therapy classes, performing this exercise, represent the names of real people: loved and/or rejected by both their own and the opposite sex. For example, the girl Yulia visualized “Vitya” as the most beautiful name, and the worst, in her opinion, name is Victor. Such a coincidence was unexpected even for the artist herself. Later, her doll "told" a sad story from childhood, in which Viktor Borisovich was a negative character.

It happens that the subject visualizes his own as the most beloved name. In this case, the second and third drawings (see instructions) contain many similar features: predominant colors, line expression, shapes, etc.

If the figure illustrates a negative attitude towards own name, then according to the main features, the “I-image” is identified with the first drawing of the series and does not contain elements of the second at all.

This fact is probably related to the identity crisis. The question is that you can get out of the crisis stronger, ready for further life choices, or you can come out broken, weighed down by complexes and personal problems (M. Bityanova).

For example, the author of the drawing - Svetlana (20 years old) perceived her name as the most unfortunate, worse than any other. When asked by the group which letter in the name she especially dislikes, she answered: "The letter T." The girl was painfully worried about the appeal: “Svetka”.

It is obvious that Svetlana's answers demonstrate only the surface layer of deep internal contradictions and problems.

In general, the attitude to one's name, acceptance or non-acceptance, is often considered as an indirect indicator of self-identity.

“An important element of any psychotherapy, especially art therapy, is to reveal the information that is hidden behind the words, images or behavior of the client,” emphasizes Abby Kelish in the article “In Search of the Meaning of Visual Images”.

In the context of what has been said, the following exercise in the technique of psychosynthesis is interesting. The subject is asked to "hear" in imagination the name of some person of the same sex and imagine it -. As a rule, the visualized personality has those qualities that, in the opinion of the subject, he can or should develop in himself. Often this personality turns out to be its direct opposite and is a synthesis of the qualities visualized in this ideal image by the personality of the subject, which is the obvious goal of psychotherapy.

The stage of individual work carries the greatest psychological burden, prompting self-observation (introspection). During individual creative work, a person's attention is involuntarily drawn to his own inner world, his thoughts, experiences, images, desires.

“I will know myself when I test myself, when I overcome the fear of seeing myself as I am. ...It doesn't matter what I find; no matter how much energy I spent hiding parts of myself from myself” (W. Schute).

Important information in the context of diagnostics is what the "doll" actually says and what it hides. The very first words and feelings are especially significant. It is through them that the main internal contradictions of the personality, the characteristics of self-esteem and self-acceptance are verbalized.

In a word, the emphasis is on building an impromptu dialogue.

As an illustration, I will cite some dialogues of students with their “paper or rag” image of I.

You are kind of weird.

You yourself are...

The story of the “doll”: “Once upon a time there was a girl who looked like me. She wanted to talk about how she was very restless.

What a stern look! What's your name, strict doll?

I don't want to meet you! You are at fault! So call me Stranger!

Hey! How I like you! You have such a funny dress!

Hey! I, like you, - Katya! We are similar to you!

Hello, what's your name?

Nastya! replied the paper doll.

That's lovely! This is my favorite name. And my name is Elena, - the girl, the creator of the doll, said sadly.

Well, you're scary!

I am you! the doll replied. Dialogue 6.

Hey! Happy birthday!

Hello! It's great that I made it!

You don't look like me. Why are you so ordinary? Dialogue 7.

Hello sweet doll! You look great!

Thank you! I'm glad to see you too. You know, in my soul, not everything is as smooth as it seems.

Something happened?

Let it stay in my heart. Maybe someday I'll tell you...

After some time, the student, on behalf of the paper doll put on her finger, told the story "maybe about herself." Here is the short story:

We became strangers... like a holiday and a rope...

In your eyes, sadness and dewdrops.

I'm talking about a little piece of my past, and it's sad. But don't worry, I'll be fine. Just a little confused....

Paper doll stories

Red bow (Victoria's story, aged 20).

Once upon a time there was a doll without a name. Nobody understood or noticed her. And when it became especially sad, she took out a red bow from an old chest of drawers. From a real, happy childhood. Previously, the bow seemed incredibly huge. Now - touching, small and funny., but very sweet to the heart. Once upon a time, mother, strengthening the bow on her thin short hair, said in a gentle voice: “You are my beauty! And with a bow and a princess at all!

The doll told me this story.

I think I was thinking about myself when I made the paper doll. That's all!

What the girl did not understand (the story of Alena, 20 years old).

Once upon a time there was a doll that looked like me. As a child, she had cheerful and caring parents, a reliable and bright home. But one day the grandmother took the doll forever. Every day they made themselves comfortable in the garden and looked at the sky, at the planes.

Now, - said the grandmother, - father and mother fly like bold birds. They probably love it there. Here they look at you from a height and rejoice at how good and beautiful girl you are growing.

The doll proudly stretched its arms to the sky, stood on tiptoe to be closer to the flying plane. She just did not understand one thing: why do planes fly by and never land in my grandmother's garden? After all, the birds sit on the branches of trees.

Then the doll grew. She loves her kind, wise grandmother very much. Sometimes they still look at the sky together.

Sometimes a homemade doll symbolizes a real person. The dialogue model with its image, as a rule, reproduces real life episodes or imaginary situations in connection with which a person experiences certain difficulties.

However, to a greater extent, a home-made doll reflects the updated in this moment subpersonality (or subpersonalities) of the author.

Apparently, this explains the fact that some participants, contrary to the instructions, create several dolls at the same time, put them on the fingers of both hands and build a dialogue between them. There are also many-headed dolls with a common body. Moreover, the authors themselves characterize them as different sides of the image of I: “My white and black half”, “Musicians of the same orchestra”, “My internal enemies”, “Mosaic of the soul”, “The face and the wrong side of my character”, etc.

In such an impromptu dialogue, in essence, a person builds a new relationship with himself. The dual identity in the images symbolizes the internal split and conflict (M. Betensky).

“We are dominated by everything with which we identify ourselves. We can control everything we don't identify with." This fundamental psychological principle, according to R. Assagioli, is the secret of our enslavement or freedom. Every time a person identifies with weakness, guilt, fear, any other emotion or attraction, he is limiting himself. Recognizing his despondency or irritation, a person succumbs to depression and anger with even greater force.

At the same time, if you say: “A flash of anger is trying to take over me”, “A wave of hatred is trying to overwhelm me,” the situation changes. There are two opposing forces: on the one hand, the vigilant "I", on the other, despondency or anger. The "Watchful Self" (conscious person) can objectively consider these impulses, penetrate into their origin, "predict" undesirable consequences and understand their groundlessness, i.e. resist, control.

This, in essence, is the therapeutic goal of the final stages of the session.

At the stage of collective work in small groups, therapy stories are an interesting and effective technique.

Doris Brett talks about the problem of a woman who spent her whole life ashamed of some stupid thing she did as a child. In a therapy story made up for her by other participants, a similar girl won the competition for the dumbest stupidity. Everyone congratulated the winner and rejoiced that she not only came up with such a funny contest, but also won it.

Adult participants in art therapy classes often consciously use the therapeutic situation in order to figuratively, indirectly, as if from another person, discuss their significant problems and experiences.

For example, students came up with a therapeutic story for their classmate, who suffered from loneliness while waiting for the "prince on a white horse", which eventually helped the girl change her attitude towards the problem, herself and loved ones.

It was a story about a kind princess, who was given by an evil fairy treacherous glasses, so beautiful in appearance. So the princess plunged into the world of fantasy and distorted reality. The princess and the people around her suffered for a long time. Once she made a paper doll. And then she looked at her reflection from the side and understood everything. Who knows, maybe one of the young men in love with her is the very long-awaited, real prince. You just need to imagine each of them on a white horse ...

This example, in fact, illustrates the well-known psychological law of Claparede (the law of awareness): the more we use any relation, the less we are aware of it.

Undoubtedly, the path to oneself, the discovery of selfhood is a complex creative process.

Accepting yourself for who you really are is a sign of mental health and an indicator of personal growth. Self-acceptance largely determines the nature of interaction with other people. Therefore, it is precisely in expanding the boundaries of acceptance in relation to oneself, students, colleagues, parents that, according to K. Rogers, there are huge opportunities for personal growth.

Lesson 6. "We draw masks ..."

General remarks. Priority Goals

Art therapy work with the emotion of fear.

The proposed art therapy technique allows you to simultaneously work with a group of children of the same and different ages, as well as with adults. Can be customized for individual work.

Separate techniques are easily mastered by parents, therefore they are applicable in the conditions of home play activities, including with dolls.

The art therapy technique of “masks” is effective for correcting various fears, and above all those caused by the imagination: fear of illness, attack, natural disasters, transport, fairy-tale characters, etc. In the process of drawing, the feeling of fear is “revived” and at the same time awareness of the conditional nature of this image. The trusting relationship that develops between the participants in the lesson reinforces the expected result.

The art therapy space includes personal workstations (desk and chair) for individual creativity, a circle of chairs, tables for collective work of small groups, and a stage space.

The number of participants is from 9 to 15 people.

Materials:

Sauce, sanguine, art charcoal, sheets of A4 paper, drawing paper (one for each small group), glue, soft eraser, chalk pieces, colored pencils, felt-tip pens, gouache, watercolors. (Matches and a container that can be used to safely burn drawings may be needed.)

Basic procedures. Stages

(Instructions for participants are in italics).

1. Set up (“warm up”)

Participants take places for individual work.

You can use "Doodles" by D. Winnicott, "Closed Eyes Technique" by F. Kane, M. Richardson, described above, as well as similar in content and methodology for the exercise "Relay of Lines", "Autographs". Various games with color will do. For example, the participants in the lesson are invited to remember what feelings they most often experience, draw them with paints in the form of multi-colored spots, and sign the names.

As an independent exercise at the stage of mood, participants can be invited to depict certain emotions with the help of lines and colors, for example, according to the method of M. Betensky - fear, love, anger. The main condition: the drawings must be abstract, i.e. not contain specific images, pictograms, stamp symbols (hearts, flowers, arrows, etc.).

Everyone works independently. The image of one emotion is given 2-3 minutes. There is no discussion at this stage.

2. Actualization of the emotion of fear

Participants are invited to sit on chairs arranged in a circle.

Everyone, both adults and children, is familiar with the feeling of fear. Close your eyes and imagine the situation, your feelings when you were scared. Come up with a name for this.

Open your eyes. Talk about your feelings.

It is desirable that the child (adult) on whose face the psychologist saw the strongest emotions speak first. Do not force if the person refuses!

Another version of this step is also possible. For example, all those present are invited to split into pairs and tell each other the most terrible dreams or stories from their lives.

3. Individual work. "The Materialization of Fear"

Participants again take places for individual work.

Draw your fear on a piece of paper. You don't have to show your work to anyone.

Do with the drawing as you wish. It can be crushed, torn, burned or destroyed in any other way.

After the participants have dealt with their fears materialized in the drawings, they are offered the following instruction.

Draw fear on a sheet of paper in the form of a mask using sanguine, sauce or art charcoal. On a black or brown background, you can draw with white chalk or brighten the outlines of the image with an eraser.

Tear off excess paper with your fingers - the background. Scissors cannot be used.

Such work contributes to the development of tactile sensitivity and fine motor skills of the hands.

Interpretation of some features of the mask is also possible. Informative are the size, the depicted emotion, the presence of such elements as eyes, mouth, teeth, ears, horns, etc.

4. Ritual dramatization. "Spontaneous theater" A situation of "public" living is being created

Participants are invited to unite for joint creativity in small groups of 3-5 people.

Look at the pictures of the masks. Share your impressions.

Come up with a title and content for the story, in which the masks would be the main characters. Place them on a piece of drawing paper and finish the "picture".

Materials for collective work are selected at the request of the "artists".

Distribute and rehearse the roles in accordance with the invented plot. Everyone should speak from the "face" of his mask.

Then each group goes to an impromptu stage. The rest of the participants at this time are spectators. It turns out a small performance, and, no matter how terrible the initial plot, at the time of dubbing it causes laughter from both the actors and the audience.

5. Final stage. Reflective analysis In the process of collective reflection, each participant is invited to verbalize their own impressions, for example)", discuss:

What did you feel when you worked alone, with a group, do you feel now?

How did the group work? Who owns the idea of ​​the plot, title?

How can you help yourself and others if you suddenly become scared?

What color do you feel when you're scared?

What color are your feelings now? At the same time, individual drawings made at the stage of "Mood" are discussed.

It is clear that the analysis of the resulting artistic products is of interest in terms of diagnostics. Informative is the choice of the content of dominant feelings, which, as you know, determine one of the most important characteristics of the orientation of the personality.

The subject of reflection for a psychologist can be such characteristics and features as the gamut of feelings and colors, the overall color of the picture, the comparative saturation in the image of positive and negative emotions, as well as the degree of predominance of one or the other. In the same context, it is important to evaluate the work from the standpoint of the complexity of the drawing process. How energetic was this process, how much effort did the artist spend on creating the intended image? Is the silhouette completely painted over or are there empty spaces? What can be said about the degree of integration of image elements? How long did it take to work on each of the visualized feelings, and what were the difficulties?

Of course, the posture of a person is informative, as well as the location of each feeling and the emotions associated with it, the emotional state.

For example, according to one opinion, the feeling of love (as well as hatred) must be placed in the head, according to another opinion - in the region of the heart. It happens that the whole silhouette of a person is occupied by only this feeling, or, on the contrary, it is completely absent. Fear and horror are usually drawn in the legs (“wadded legs”, “trembling knees”), in the face area (eyes, forehead, lips). Aggression, anger is most often depicted in the feet, fists or on the face.

The authors are more unanimous in the choice of color schemes. The feeling of love is colored mainly in pink or red; aggression and anger - in black, dirty brown, dark purple; fear and horror - in gray, dark gray colors.

It is important to pay attention to the color range. The choice of primarily brown, gray, black colors reveals, according to L. N. Sobchik, a state of pronounced stress, regardless of what and in whom the stress is caused. This may be an objectively overcomplicated situation or a neurotic reaction in an unstable personality to life's difficulties. Feelings highlight phenomena that have a stable motivational significance.

The author of the drawing, an adult man, by the time of the lesson was in a state of protracted professional conflict for a long time, a constructive way out of which could not be found. The situation seemed hopeless to him.

At the suggestion of a psychologist: depict and<<заполиитъ» контуры человека любыми эмоциями, чувствами подхо­дящей окраски, - протеста не последовало. Напротив, мужчина с удовольствием принялся за работу. Сначала, не задумываясь, быстро нарисовал черным цветом комок ненависти в правой половине груди силуэта. Затем - темно-коричневым изобразил жадность в кулаках. Гряз-

but in gray painted over the rest of the surface of the drawing, since fear, in his opinion, spreads throughout the body. In the region of the heart, he "settled" a two-color pain (shades of marsh and rusty-brown). The work was almost completed and the author, considering it, thought for a long time. As a result, another feeling appeared - complacency, which, like a bubble in the form of a spacesuit, towered over the head and shoulders of the drawn person. At the discussion stage, the man said that he was pleased with the image, that he had drawn all the main feelings and emotions that came to mind in the first place. He was sincerely surprised and laughed for a long time, because he completely forgot about love, joy, happiness, pleasure, surprise and other emotional states that filled the drawings of other members of the art therapy group.

So, the proposed exercises in a playful way allow you to feel, realize, experience and express the full range of feelings and emotions.

At the same time, in the process of creative self-expression, at the unconscious-symbolic level, there is a “response” of internal tension, new paths to personal growth and development open up for a person.

“We draw with symbols and abstractions”

The exercise continues the previous topic in the context of working with a certain feeling. Instruction options:

Using any image style and any artistic means, create an image of guilt (grief, loss, love, happiness, etc.)

Use colors, lines, shapes to create images that express your understanding of guilt (grief, happiness, etc.).

Describe your feelings of guilt (anger, jealousy, etc.) in symbolic language.

Using symbols and abstractions, draw what you feel when you feel guilty (abandoned, loved, etc.) - Then paint a picture when you are happy (sad, offended).

Procedure "What do you see?" will help to find out own associations and ideas of the author of the picture. It is interesting to discuss the author's argumentation of color, form, composition in the depiction of this or that feeling. What signs indicate that an image of joy or, on the contrary, sadness has been created? What plot of the picture corresponds to your understanding of joy (sadness, guilt, resentment)? What episode appears when you are asked to draw a feeling of happiness (grief, hatred)?

Such thematic tasks are conducive to a high degree of openness in the group. Therefore, it is especially important for a psychologist to remember to respect the individuality of each participant in the lesson and take care of his psychological state.

<<Путешествие в детство»

Drawings of early memories are usually considered as a kind of metaphor for the relationship of the author with the contemporary world around him. It is believed that childhood memories as a symbolic model of interpersonal relationships reflect the individual characteristics of interaction, communication difficulties and ways to resolve them, the nature of the response both in the past and in the present. This phenomenon is closely connected with the nature of fine arts (V.

Becker-Glosh) and is significant in the context of art therapy diagnostics.

Words and drawings of childhood memories are a strong stimulus for the creative self-expression of those feelings that are associated with the inner world of the subject (F. Mousi and others).

Therefore, the theme of several sessions (classes) may sound: "I can afford to play like a child ...".

One of the tasks: draw the most favorite game (or activity) from your childhood with your “non-working” hand and come up with a name for the drawing.

Depending on the purpose, the instruction may leave freedom for choosing the emotional coloring of a childhood memory (pleasant, joyful or bitter, traumatic). Namely:

Draw with a “non-working” hand any childhood event (any childhood memory);

Draw with a “non-working” hand the most vivid childhood memory.

For work, it is better to use soft pictorial materials (wax crayons, pastels), sheets of large format paper (A3 and larger).

It is obvious that the "right-handed" when drawing with the left hand, as it were, pushes the boundaries of skills, weakens conscious control, appeals to feelings, therefore, becomes more spontaneous. He can just draw without thinking about the perfection of the drawing. At the same time, there is a high probability of manifestation of strong feelings, children's fears and / or the emergence of vivid creative images.

It is important to discuss why this particular children's game arose in the imagination. How did the person feel in the process of working on the images, how does he feel now? What is the connection between the remembered episode and the author's "life scenario", the prevailing strategies of behavior, how is it reflected in his life at the moment?

In subsequent sessions, the theme of childhood memories can be continued: “My first lie...”, “The most impressive event...”, “I am a child”, “When I was little”, “First loss...”, “ The first parting in my life”, “Children's secrets”, etc.

"Metamorphoses of drawing"

The meaning of the task is simple: each participant is invited to quickly create some kind of

or an image, draw a simple picture or just color spots, and then pass the work to the next participant to continue the drawing. The exercise ends when each drawing, having gone around several circles, returns to its first author.

The original idea, the changes that have taken place, and the feelings that arose are discussed. At the end of the lesson, collective drawings are attached to the wall. A kind of exhibition is being created, which for some time will remind of fine art in a “foreign space”.

This technique can reveal strong contradictions in the group process, cause aggressive feelings, resentment, so the art therapist should warn participants about respect for each other's work.

The attitude of a person to the final (collective) version of his own drawing largely depends on how long he worked on his plan before the first transfer of the sheet in a circle.

In short, for many participants, the often drastic changes are easier to accept, the less feeling was invested in the original image. After all, if someone shows destructive tendencies, then the works returned to the authors can be almost unrecognizable.

With a benevolent mood, the initial drawings do not change so noticeably.

Thus, for psychotherapeutic purposes, at the initial stage of fine art, it is better to use time limits. Moreover, to a certain extent, the art therapist himself can control the destructive tendencies in the drawings, if he participates in collective work on an equal basis with others.

So, drawing in a circle makes it possible to obtain significant diagnostic material, to observe individual reactions and the development of a group process.

"Transparent paintings (isotherapy on glass)" -

This technique demonstrates tendencies towards cooperation or rivalry)", dominance, and also allows you to show the attractiveness of a "helping" relationship.

Participants work in pairs on one glass, fixed vertically. Everyone paints with gouache on their own side of the glass, but the theme for fine art is common. For example: depict your ideas about happiness, draw good, dream, pain, joy, etc.

Restrictions on verbal communication. The idea, plot, methods of work are not discussed in advance.

At the analysis stage, ready-made compositions are compared, the participants exchange opinions on how their actions were coordinated, how did the overall composition succeed: is the picture harmonious, is the idea the same? What does the composition look like in the light: is the impression of a holistic work created or is the image perceived only separately from each side?

Participants take turns characterizing and interpreting the drawn objects, describing the associations that have arisen. If everyone paid attention only to their own composition, without coordinating actions with a work partner, it is necessary to correctly clarify the motives for just such a strategy.

It is clear that the result of joint work in a single logic is more attractive?!, since the painted picture looks harmonious;! on both sides of the glass and into the light.

A similar procedure can also be performed using the technique of drawing with plasticine on glass or a large sheet of cardboard. Moreover, the probability of autonomous compositions increases if the sheet is divided in half by a wide (thick) line. If the border is almost imperceptible (a fold, a hard thin pencil), a subject with a pronounced desire for leadership easily moves to "alien" territory.

Words and symbols are known to revive vivid impressions and real sensations that can trigger the natural mechanisms of self-regulation.

It is generally accepted that a feeling of anxiety (emotional component) certainly causes motor anxiety (motor component), as well as changes in the course and nature of the child's thoughts (mental component). Therefore, by drawing a positive image and fantasizing, one can experience a feeling of pleasure, which will be reflected in facial expressions, gestures, actions, attitude towards oneself and others. This means that potentially positive topics are especially useful for therapy: "I'm good"; “My most pleasant (bright, kind, happy) childhood impressions”; "Joy".

The effectiveness of art therapy techniques is largely evidenced by the feedback of the participants themselves, their steady desire to attend classes, as well as the degree of sincerity and openness, positive changes in interpersonal relationships and other signs.

A generalized criterion for the effectiveness of art therapy is the objective dynamics of social and psychological indicators of the state of participants.

In general, the presented exercises and techniques are quite universal. They, like a mirror, reflect models of human behavior in real life.

The system of art therapy classes

Each of the proposed classes is multi-purpose and can become the basis for a system of art therapy work with one of the most common personal problems. Among them: fears, anxiety, aggressiveness, shyness, problems of communication, intra-group interaction, relationships with others, and many others.

At the same time, the system of classes in the proposed sequence represents a model of short-term thematically oriented art therapy. At the same time, the main focus is shifted from therapeutic and correctional goals to psycho-prophylactic, socio-therapeutic, educational, developmental, and diagnostic goals.

The duration of one meeting with a group is 30-120 minutes (depending on the art therapy goal, the logic of work and the age of the participants). Frequency: 1-2 times a week.

The theme, a clearly defined structure, a certain content of each stage of the lesson set organizational order, some directiveness. However, in terms of the style of psychotherapeutic relations, the emotional atmosphere, art-therapeutic interaction is democratic, creative, humanistic, and personally oriented.

The proposed techniques are quite universal and are suitable for working with all age groups: from elementary school students, starting from the age of seven, to adults and the elderly. Can be adapted for individual art therapy.

Lesson I. "We draw circles ..."

General remarks. Priority Goals

This lesson is suitable for starting and completing AT work. It promotes the development of spontaneity, reflection; allows you to clarify personal characteristics, values, claims, the nature of the problems of each participant, his position in the group; reveals interpersonal and group relationships, their dynamics, has the potential for the formation of group cohesion.

The optimal number of participants is 14-16 people (two small groups). AT space is organized as follows: two large tables (student desks can be made up), around which chairs and an art therapist's table are placed.

Materials:

Two rolls (one for each table) of thick paper, each about 2 m long, without connecting seams.

You can use the reverse side of the wallpaper, thick wrapping paper. A variety of visual materials and tools in sufficient quantities: pencils, felt-tip pens, paints, wax crayons, oil pastels, gouache, brushes, jars of water, eraser, adhesive tape. (The choice of visual means is determined independently by each participant). Sleeves, aprons, gowns are desirable for younger students.

Many children are very worried and upset if they spill water in the process of work, stain their clothes with paint. So that such unfortunate accidents do not limit spontaneity and freedom of creativity and do not reduce the therapeutic effect of the lesson, it is necessary to take care of comfortable overalls in advance.

Basic procedures. Stages

(Instructions for participants are in italics.)

1. Mood ("warm-up"). Exercise options:

Scribble.

Passing the sheet around.

Drawing in a circle.

2. Individual work.

Take a seat at one of the tables. You can change your location if you wish. You have the right to move freely around the table and work in any territory.

Draw a circle of the desired size with the color you like.

Draw one or two more circles of any size and color on the sheet. Please step away from the table and look at the received images from the side.

The following instruction is only for those who are not satisfied with the results of the work and would like to change (clarify, correct) the appearance, color, location of their circles in the space of the paper web. You can make one or more drawings.

Outline the drawings.

Connect your circles with lines that you especially like. Imagine that you are laying roads.

Fill the space of each of your circles with story drawings, icons, symbols, i.e. give them individuality.

3. Teamwork.

Walk around the picture sheet, carefully examine the drawings. If you really want to finish something in the circles of other participants, try to negotiate with them about it.

Sketch the remaining free space on the sheet with patterns, symbols, icons, etc. First of all, agree with other participants on the content and methods of creating a background for the group drawing.

4. Stage of verbalization and reflective analysis.

Groups attach the resulting canvas paintings to the wall. Then each participant shares his impressions of the joint work, shows his own drawings, talks about the idea, plot, feelings, reads, if desired, aloud the good wishes that other participants wrote to him.

For this technique, the circle was chosen as a mythological symbol of harmonies. It is believed that the circle, due to the absence of sharp corners, is the most “friendly” of all geometric figures, meaning approval, friendship, sympathy, softness, sensuality, and ifivity.

Working in a circle activates integrative, emotional, intuitive (right hemispheric) thinking, and also unites, stabilizes the group, and contributes to the formation of favorable interpersonal relationships.

Even small children, according to S. Rais, prefer circles to all other figures. This is apparently due to the simplicity of the round shape.

The draftsman, as E. Bülow noted in the article “And here is a sign for you ...”, immersed in the process of depicting a wide variety of symbols, fills the entire surface of the sheet to the very edge, as if opening them for himself. Many sheets, dotted with circles, sometimes larger, sometimes smaller, touching or intersecting with each other, and sometimes included in one another, raise the question of the significance of the circle as a symbol.

Usually, drawn circles are far from perfect in terms of geometry. However, they are self-sufficient entities, for the designation of which it is difficult to find words. In the mind, only ideas about a certain form arise, the aesthetic merits of which hold attention.

Drawing in a circle is usually called the technique of drawing mawdala (“magic circle”). As follows from the psychological dictionary, a mandala is a symbolic drawing, usually a square within a circle or a circle within a square, with some symbol in the center. This is a kind of bridge between the inner and outer worlds, it allows you to depict in the form of a picture the self, a holistic personality, its harmonious state, as well as subtle experiences that are inexpressible by ordinary means (K. Jung). In recent years, this technique has also been used as a projective psychodiagnostic tool.

The proposed version of the lesson is in some sense similar to sociometric methods and has significant diagnostic value.

One of the tasks of the 1st stage is to get to know and / or bring the group members closer together through joint actions. For this, according to R. Goodman, the exercise “Passing the sheet” is especially suitable. It is valuable in that the drawing has no authorship, and therefore cannot become a subject for targeted irony and criticism.

Each of those present is invited to draw on their sheet of paper some simple and familiar image, and then give the drawing to the neighbor on the right. He adds something to the image and passes it further in a circle. The work ends when each drawing returns to its first author. Then the participants share their impressions. Usually there is a favorable creative atmosphere, conducive to the manifestation of creative activity and spontaneity at the next stages of work.

A modification of this exercise is to create a single group drawing. In this case, only one sheet of paper is passed around the circle, on which each participant in turn depicts something according to his own design or supplements the work of previous authors.

The exercise is interesting, especially at a fast pace, but ineffective in large groups, as well as with younger students and children with deviations in the volitional sphere, since those who have already completed the work, waiting for the next instruction, may be distracted, interfere with the creative process of others, comment , advise, ironic. The most impatient ask questions like: “What next? Can I…” Therefore, in such exercises at the stage of mood, time limits are necessary. The psychologist can regulate the duration of the work of each participant, for example, by a stopwatch or interrupt the drawing with cotton.

The stage of individual work has a significant diagnostic potential. The location of the circle, its dimensions, the thickness of the contour, as well as the color choice and the formal characteristics of the connecting lines are informative. It is important to pay attention to the content, symbolism, features of the plot drawing inside the circle. According to these features, it is not difficult to make an initial impression of how the subject sees and perceives personal space, what are his claims, self-esteem, individual personality traits. For example, the presence of strong shading, the small size of the image, presumably indicate an unfavorable physical and / or psychological state of the child, a high degree of tension, stiffness, and anxiety. On the contrary, large sizes, the use of bright colors are regarded as indicators of well-being, relaxedness, lack of tension and fatigue.

It is equally important to observe how a person behaves during creative work, how he perceives instructions and whether he follows them, how carefully he treats the creativity of others, whether he succeeds in communicative contacts with the group.

Some children (and adults too), not having pencils of their preferred color, do not even try to make a request to any of those present. It is desirable, if possible, to clarify the situation, as well as delicately clarify what exactly the subject would prefer to change in the joint group activity.

Information valuable for diagnostics can also be obtained by following the instructions: “Connect the circles you have drawn with those that you especially liked by means of lines.” This is a kind of model of sociometric choice, since participants often focus not on the external attractiveness of the picture, but on the authorship. It also happens that the lines - "roads" on the way to the goal cross some of the depicted objects. It is important to pay attention to the reaction of those whose drawings are spoiled. Do they continue to work, get upset, spoil the drawings of offenders in retaliation, “capture” a new space, behave in some other way? Are there those who have not drawn a single line from their drawings? Are there any images that are not connected to the rest? If there are any, it is necessary to offer to "ground" them with the help of a line drawn to the edge of the sheet. Otherwise, the author may have a feeling of rejection by the group (E. R. Kuzmina).

Therefore, the task of the stage of collective work is to create a situation of humane interaction and mutual assistance. Thanks to joint efforts, previously inconspicuous drawings, to the pleasure of the author, acquire a more attractive appearance. As a rule, there is an atmosphere of mutual sympathy and "infection" with positive emotions.

Children, and many adults, are happy to draw in other people's notebooks. It is important to understand with what intentions a person is introduced into the “territory” of another, how benevolent this cooperation is. Sometimes, despite persuasion, some participants do not agree to any changes in their drawing, sometimes they even show aggressiveness. In such situations, you can not insist.

It happens that some participants erase lines and other images around their circles, outline, isolate the place chosen for work on a common sheet. Such situations, of course, are informative in terms of diagnostics, as well as in the context of respect for the personal space of another person.

The next instruction (draw a background) involves the organization of collective fine art in the free space of the sheet. The psychologist should observe how the participants agree on the content and methods of completing the task: do they all work together, creating a uniform background; divide the sheet into parts and work in small groups; draw individually their own version of the pattern, thereby isolating the territory of their circles? Are there leaders and dissatisfied in this work?

At the final stage, there is a verbalization of thoughts, sensations, feelings that arose in the process of individual and collective work. A person, interpreting his drawing, can supplement, “correct” and explain with words what he could not depict.

At the same time, the need to be understood and accepted by the group is realized.

As a rule, a friendly atmosphere is created at the lesson. During the discussion, the participants intuitively use the “psychological stroking” technique. They praise all the drawings, clarify the idea, and provide emotional support. For example, in one of the classes, a student, showing her circles on a piece of paper, apologized several times for not being able to draw: even the cheeks of the matryoshka turned out to be of a different shade. But the group immediately found another reason - it's just that the light falls unsuccessfully, and the drawing is very good.

Concluding the lesson, it is worth emphasizing the success of everyone and the individual uniqueness of each. In children's groups, it is also desirable to note that thanks to co-creation, an ordinary roll of paper has turned into an elegant, decorative canvas on which all circles are interconnected, they are securely and comfortably together.

Both children and adults after the lesson are worried about the future of their "pictures". It is advisable to leave them attached to the wall (in the office, recreation), as if prolonging the art-therapeutic effect for some more time.

So, this art therapy technique reliably reveals the place of each participant in the overall palette of relationships.

Modifications of the lesson "Draw circles ..."

1. Free drawing in a circle

Each participant is invited to choose one or more circles of any size for individual work. (Templates with a diameter of 3 to 30 cm from thick paper must be prepared in advance.)

After the drawing in circles is completed, the participants unite in small groups of 5-7 people and create a common composition on a sheet of drawing paper, using their creative work as a basis.

Further, the “pictures” are attached to the wall (board), examined, exchanged impressions. The lesson ends with a reflective analysis. The features of individual work and intragroup interaction are discussed. You can invite participants to write stories to accompany the drawings.

2. Thematic drawing in a circle

To create a composition in a circle, a theme is set. For example, “White and Black”, “Happiness and Sorrow”, “Day and Night”, “Good and Bad”, “Halves of my “I”, etc. The main thing is that the task formulations include alternative concepts, contrasts, reflected duality, hidden contradictions of the whole, "two sides of the same coin." Such work encourages a person to explore and realize their own internal conflicts, experiences, values.

3. Drawing together in the space of a circle Participants are invited to unite in pairs,

choose (or draw) a circle template of a certain size, agree on the content, visual means, ways to work together to create a single composition.

It is clear that not everyone manages to create a harmonious pattern, especially if the couples were formed on a random basis, consisted of partners unfamiliar to each other.

In this exercise, the features of interpersonal interaction, tendencies towards leadership or subordination, the dominant styles of behavior of the participants are clearly manifested, which is of great value for diagnosis.

No less interesting and informative is group work in the space of one large circle.

4. Drawing in a circle as a diagnostic technique

Robin Goodman, president of the American Art Therapeutic Association, describes the technique of drawing in a circle to diagnose parent-child relationships. The subjects are asked to depict themselves and their parents using circles of various sizes, placing them on a sheet at a certain distance from each other. The results obtained testify to a large extent to the degree of emotional closeness and significance for the child of each family member.

5. Creation of a mandala.

An interesting version of the lesson is when the participants, according to the relevant rules, draw symbolic “magic circles” - mandalas on thick cardboard, and then give them to each other as lucky talismans, amulets. Often such gifts are carefully stored for many years.

Mastery piggy bank

Ludmila Lebedeva

Technique "The man who picks an apple from a tree"

Lebedeva Ludmila Dmitrievna- Doctor of Pedagogical Sciences, Professor of the Department of Pedagogy and Psychology of the Junior School Student of the Ulyanovsk State Pedagogical University.

She defended the first doctoral dissertation in Russia on the problems of art therapy in education. Author of more than 120 scientific papers, including articles in journals: Pedagogy, Public Education, Primary School, School Technologies,"Psychologist at school""Education", "Didakt", in the weekly "School Psychologist", etc. Head of the advanced training course in the specialty "Pedagogy and Psychology (specialization: art therapy in education) at the Ulyanovsk State Pedagogical University.

She has experience in psychological counseling in the format of art therapy with groups of different ages, conducts educational author's programs in the cities of Russia and neighboring countries. Develops unconventional and most effective approaches in area business communication, strategies for professional and personal success.

Most people have hands-on experience with picking an apple from a tree, or at least visual images of the process in their minds. This fact underlies the graphic projective technique developed by art therapists Litzda Gantg and Carmello Tabon (Gantt L.. & Tabone C. Fomal Elements Art Therapy Scale. The Rating Manual. Gargoyle Press Morgantown, WV. 1998.)

Russian modification of technology is presented in the studies of A.I. Kopytina, E. Svistovskoy (Svistovskaya E. Art-therapeutic scales of formal elements: a pilot intercultural study. // Healing Art.

Journal of Art Therapy, No. 2,2000. with. 54-78.)

Instruction:

Draw a person picking an apple from a tree.

Materials:

A4 paper, a set of felt-tip pens or pencils in 12 colors, including gray and black.

Interpretation of results:

The instruction for the task leaves a high degree of freedom for the subject and allows you to model the proposed situation at your own will. This means that the problem and the level of difficulty of its solution, in fact, are set by the artist himself. For example, one can imagine and draw any tree of a suitable height, a sufficient number of apples on it, growing as low as necessary for an elementary solution of a problem, and a person of an appropriate height.

However, most of the subjects (both children and adults) depict not just a person picking an apple from a tree, but a person who finds himself in an extremely difficult situation, who needs to overcome some scarlet difficulties in order to complete the task. So, pretty cha there are a hundred drawings in which the depicted subject struggles, standing “on tiptoe”, reaching for an apple or shaking a tree; knocks down fruits with a stick; climbs the stairs; climbs the trunk; even conquers a mountain peak, moreover, with a result unknown to the viewer.

What prompts the subjects to model the situation as problematic, intractable or insoluble at all? What determines the amount of imaginary effort expended to achieve the goal?

It is believed that a drawing on paper is a work on the border of the contact of the inner and outer worlds (G. Schottenloer “Drawing and Image in Gestalt Therapy”. St. Petersburg: Pirozhova Publishing House, 2001. P.220) At the same time, the “artists” spontaneously project onto paper visual images rich in symbolism.

Symbols are usually seen as signs or images of various psychological realities.

The mythological symbolism of the apple is well known.

The serpent-tempter in the biblical myth seduced Eve to taste the apple - the forbidden fruit from the tree of the knowledge of good and evil.

The goddess of discord Eris tossed a golden apple to the guests with the inscription "Most Beautiful", because of the possession of which Aphrodite, Athena and Hera argued. As a result, the cause or object of the quarrel is allegorically called the bone of contention.

No less figurative is the expression "an apple on a silver platter ...".

Picking an apple in the context of dynamic symbols is an action during which a person shows the ability to move towards the goal of his mental "liberation".

The language of the drawing, symbols is compared with the voice of the unconscious, which sounds at those moments when the consciousness lacks words. Interpretation reveals the originality of the mental world of the draftsman.

Without a doubt, each image of a "man picking an apple" is deeply individual. At the same time, diverse drawings can formally be systematized on the following grounds:

1. according to the content (plot), the presence of objects specified by the instruction (a person, a tree, an apple), the completeness or fragmentation of the image of these objects;
2. according to the method of action (what is shown: preparation for action, the action itself or the end result?);
3. by result (what efforts are made by a person to achieve the goal, how successful is the result: is the apple picked?).

Illustrations

The author of the drawing, a ten-year-old girl, depicted a huge pink apple and a fragmentary branch with a green leaf. The fingers of an invisible person of unknown age and gender barely touch this apple (Fig. 1).

Similar stories are found in adults.

The images of the second type include the following illustrations.

On fig. 2 Fig. Lebedeva2 it is easy to see what incredible efforts a climber has to expend in an effort to get the cherished fruit. (The author is a 20-year-old student.) Moreover, just as in the work of a ten-year-old boy, only the action is indicated (a person reaches for an apple), the end result is not known (Fig. 3).

The third type of drawings, on the contrary, does not contain information about how the goal was achieved. The viewer sees only the result: apples in the hands, a basket, etc. (Fig. 4, 5).

Let's pay attention to the characteristic features and symbolism of the presented drawings. The image of a branch instead of a tree, according to some researchers, presumably indicates infantilism, and too large an object indicates inner looseness, freedom.

B. E. Egorov, E. S. Romanova interpret these signs in a different way. According to them, the ripening fruits are the ripening problems of the "artist's" personality. The number of fruits depicted is equal to the number of problems being solved that are being actively worked out, and fallen apples indicate problems already solved (Psychotherapeutic Encyclopedia / Edited by B.D. Karvasarsky, St. Petersburg: Peter, 1999. C 752).

According to Koch, the presence of apples on a tree means guilt.

It is important to pay attention to how the visualized apple looks: ripe, juicy or green, shriveled; sour or sweet; tasty or "wild"?

There are drawings in which a person picks up an apple from the ground, often wormy or rotten, and even eats such an apple (see Fig. 5). A special case is if an imaginary person picks up fallen or picked apples by someone. Such "signs" leave the impression of a draftsman's psychological distress.

The dynamic image of a person picking an apple can be attributed to the so-called "children's symbols". These are impressions of early childhood that can evoke positive feelings and positive emotions. Among them: a holiday, balloons, a parade, fireworks, a river at sunset, a children's song or a book. These symbols and symbolic scenes refer to the prepsychotic state of a person. They help to establish a connection with the normal part of his personality, which at the moment may be hidden or suppressed.

In art therapy practice, the appeal to "children's symbols" will allow the psychologist to most successfully establish contact with the subject, the group and provide the necessary emotional support.

The technique of using symbols through their visualization contributes, says R. Assagioli. achieving integration of the conscious elements of the personality with the unconscious and, to some extent, logical thinking with unconscious non-logical personality manifestations. However, this method is difficult to apply to overly extroverted, rigid or intellectual subjects who have very clear objective ideas at the level of their conscious"I" and weak connection with the unconscious. Such people do not like symbols, or, in any case, symbols do not tell them anything (Assagioli R. “Psychosynthesis. Principles and Techniques” / Translated from English by E. Petrova. M .: Publishing House of EKSMO-Press. 2002. P.416).

In general, a qualitative analysis of a drawing using the “Man picking an apple from a tree” method gives an idea of ​​the dominant ways of achieving goals by the subject or special combinations of strategies that form a certain style type of decision making. And this, in turn, determines individual achievements, as well as the results of people's joint activities and the effects of their interaction.

Based on the materials of the book "Practice of art therapy: approaches, diagnostics, system of classes" / St. Petersburg: Rech, 2003

Art therapy sets itself 3 main tasks:

Diagnostics of the state, problems, etc.;

Ability to respond to emotions (fear, anger, etc.);

Psychocorrection.

At the same time, diagnostics is not a central component. It can take place to find contact with a client, for example. To find ways to move forward. Diagnosis in art therapy is most often a kind of emotional response to an artifact; a set of hypotheses to find the way.

In group work, drawings can be discussed by the group members themselves. As a rule, it is these “diagnoses” of partners in the art therapy space and their own discoveries that trigger therapeutic processes. As a rule, in a group, people quickly “get involved” in the proposed rules of the game. Often, at the end of the session, participants are surprised to talk about how much you can learn about a person from a drawing. Even without special knowledge.

In my opinion, the desire of clients to learn something about themselves from the drawing is more connected with a certain expectation of a miracle and a test of the therapist for professionalism. By and large, these expectations are the work of resistance. “Here, take the hare out of your hat. Then I will believe you and demand my magic pill!”

The therapist, in turn, can use diagnostics to establish contact with the client and jointly search for a direction for work. In long-term therapy, a series of drawings can serve as a marker of the success (or failure) of the process.

If we talk about the other two tasks of art therapy (reaction and psychocorrection), then these processes begin already from the moment the technique is performed (drawing, sculpture, installation, assemblage, etc.). This moment, I think, is an excellent resource. Since the client gets the opportunity to help himself - in fact, at art therapy sessions, he has the opportunity to learn methods of psychological self-help. In this case, the degree of his responsibility for the result of therapy increases along with the chances of success.

Thus, in short, art therapy is a psychotherapy based on the use of applied art. Modern art therapy combines many different methods and directions. This includes the use of visual arts (art therapy itself), as well as music therapy, dance movement therapy, Jungian sand therapy, drama therapy, etc.

In this mini-guide, we will touch, to a greater extent, drawing art therapy.

2. Materials and organization of the space of drawing art therapy

Obviously, drawing art therapy will require an arsenal of drawing materials and supplies: paper, pencils, crayons, paints, brushes, etc. Naturally, you will need a comfortable place (s) for drawing - an optimally large table. Why big, it will become clear a little later.

Now in more detail. Let's start with the fact that it is important for us that the client finds himself in an unusual situation for himself. The very tasks that the therapist gives contribute to this: they are, as a rule, unusual for the layman. For example, draw your current state or present yourself to the group as a metaphorical portrait. If a person “does not know” what to draw, we can offer him to close his eyes and drive a pencil over the paper with his eyes closed. Then open your eyes, try to see a certain image in these scribbles. Add missing details if you want. In this way we gain access to unconscious material. Which is exactly what we are trying to achieve.

The unfamiliarity of the environment and techniques can (highly desirable) be enhanced with the help of materials.

Paper . The usual sheet size that a person deals with is A4 (210x297 mm) - this is the paper used in offices for printing texts. In general, the most traditional size. In art therapy, the A4 format is used. But A3 (300x420 mm, i.e. twice as large as A4) is preferable - for individual and pair work.

Large formats are also widely used - up to A0 (the size of a Whatman sheet), as well as paper in rolls (the reverse side of the wallpaper, for example). Large formats are used, for example, for collages, group drawings, life-size bodywork, etc.

You can also use colored, textured paper, paper of different weights - preferably thicker than office paper (80 g/m).

Unusual formats, texture, paper density help the client to escape from the usual context of his life. Here you can immediately “pull out” fears, the ability to respond to stress, help you immerse yourself in yourself.

Visual means . Pencils, crayons, paints, felt-tip pens, brushes. Erasers, water containers, sponges. Glue, scissors, tape. Everything that is used for creative work.

The set may be larger or smaller. It is important to provide the client with a choice of visual means (especially at the initial stages of work). At a minimum, an art therapist should have tools of varying severity in his arsenal. The optimal minimum set: crayons (wax pastels or colored pencils) and paints. First, the client's choice of one or the other provides information for diagnosis. Secondly, in certain situations, either solid means (crayons) or softer ones (paints) are needed. More on this in the following sections.

Additional materials and means. . In addition to the actual drawing materials, it will be useful to have:

Music (for example, meditative for techniques that are deeply immersive in oneself);

A set of illustrations, magazines, photographs - images on various topics (used for collages; as stimulus material, etc.);

Old newspapers or wrapping paper, parchment, foil (used, for example, to work with aggression);

Cereals, pasta, plant seeds, etc. (to create applications);

Materials for needlework (for example, for working with a costume, mascots);

Decorative cosmetics or make-up (for working with masks, drama therapy)

Plastic materials (clay, plasticine, salt dough, etc.) - for techniques related to the creation of sculptures, assemblages, etc.

A set of miniature figurines (people, animals, etc.), toys, pebbles, shells, etc. (for assemblage techniques, role-playing games, sand therapy);

Sand and special "sandboxes" - for sand therapy.

The art therapist may suggest that the client bring necessary materials to class (for example, illustrations for a collage). It’s good if the art therapist’s office has different materials for creativity.

3. Analysis of drawings. What to pay attention to.

Diagnosis by drawing examines 2 main groups of signs:

2 - formal (as drawn)

1 - For content analysis, the following points are important:

1.1 - the subject of the picture;

1.2 - what is shown in the figure means for the author.

2 - Formal signs can be the following:

2.1 — Visual means. What is drawn?

If the technique does not involve specific materials, the choice of the client matters. If a person chooses hard materials (felt-tip pens, pencils, crayons), this may indicate the following:

High mind control (as a rule, solid materials are chosen more often at the initial stages of work);

Manifestations of anxiety, aggression (in combination with other signs).

Choice colors can speak in favor of the fact that the emotional sphere of a person is involved, as well as self-absorption.

The therapist can regulate the correction process by providing the client with certain materials for drawing. For example, paints are more suitable for reacting emotions. However, it makes sense to be careful with anxious clients. It is better for them to offer harder materials. Pencils, crayons are also suitable for a splash of aggression.

2.2 - The nature of the lines

The predominance of straight lines may indicate the control of consciousness, the predominance of logical thinking. Winding - about the manifestation of affective states, an intuitive process. Curvy lines are more natural, feminine. Straight lines in the drawing are more typical for men, sinuous - for women.

Depending on the topic of the work, the appropriate (or inappropriate) nature of the lines can provide important information. For example, if a drawing on goal setting is dominated by sinuous lines, I would try to clarify with the client whether he has a good idea of ​​\u200b\u200bwhat he is striving for. To what extent his choice is dictated by emotions and how much by logic.

2.3 – General character of the image: ordered or chaotic pattern. An ordered pattern may be associated with mind control; the nature of the thinking of this person; conservatism; propensity to follow the rules, etc.

A chaotic pattern is associated with a decrease in conscious control. Which, in turn, may indicate the "baking" of emotions; organic brain lesions, etc. This is also true for children under 3 years of age.

2.4 – Number and saturation of colors

The brightness of the picture, the number of colors can be a sign of an emotional state; diversity (uniformity) of the inner world; sentiments; person's energy level.

For example, poor color choice, pallor of the picture, weak pressure can be signs of depression. At the same time, the drawing is often schematic, with a minimum of details, only the outline is drawn.

2.5 - Color analysis

There are different methods for color analysis. For example, the relationship of color with the seasons. What colors are suitable for winter? White, black, red. Bright, vibrant colors. No special halftones. What can the "winter" state of a person mean? Peace, fatigue, thoughts about death, recuperation, cleanliness, severity, etc.

Another option is the connection of color with natural phenomena. Blue - water - femininity, smoothness, fluidity, emotionality. Red - fire - brightness, purposefulness, energy, masculinity. Green - foliage, grass - the color of vitality, hope, etc.

The system of human energy centers - chakras also has its own bindings to colors. The 7 colors of the rainbow are arranged in the human body. Accordingly, in this system, the color of a particular chakra gives an idea of ​​the theme of the drawing. For example, ocher red is associated with the root chakra, matters of survival. Orange - with a sexual center. Yellow - with the solar plexus - relationships with society. Green is the color of the heart center. Blue - throat chakra, emotional issues. Blue - forehead - consciousness. Violet - the upper center above the crown - the color of spirituality. Read more about this system in the article "The rainbow of your body."

Any assumption by the therapist on the color meaning of the picture is only a hypothesis. More important here is the meaning of a particular color for the author of the drawing. For example, orange and blue colors predominate in the picture. The therapist suggests blue - a sign of the feminine. For the author, blue is a masculine color (cold, rational). Further analysis of the drawing is done on the basis of the author's perception, and not the therapist's hypothesis.

2.6 — Picture size, placement on the sheet

Picture size can talk about how much a person occupies a living space, about his strength or weakness, possible fears.

For example, a large drawing on the whole sheet can be interpreted as vitality, vigor, perhaps complacency. A small drawing may speak of a fear of going all the way; fill the entire living space; about depression. The voids in the figure can also speak of some understatement, mystery, caution.

Sheet position can be vertical (portrait) and horizontal (landscape). It can also be a diagnostic criterion. An upright position may indicate spiritual quest; selfishness; romanticism; some detachment from earthly realities. Horizontal - about the ability to "stand firmly on your feet"; ambitions materialism; self-confidence.

If the drawing occupies part of the sheet, it is worth determining which one. Thus, it is possible to identify "problem" areas.

Dividing the sheet into "Top-Bottom", "Left-Right". The fullness of the sheet from above or below, to the left or to the right indicates the predominance of the corresponding spheres in a person's life, their resourcefulness. Accordingly, voids are about missing things, possible problems, lack of resources in this zone.

Possible hypotheses for diagnosing the placement of a picture in different parts of the sheet:

Table 1.

Table 2.

2.7 - Motion estimation

The drawing can be static. It can also feel some dynamics. If there is a sense of movement (a walking person is depicted; arrows; spirals; elements are directed in a certain direction, etc.), the direction is a diagnostic criterion.

For example, movement clockwise can be a sign of a desire for development, growth, problem solving. Counterclock-wise - avoiding problems, searching for resources in past experience, withdrawing into oneself.

Movement from top to bottom and vice versa, from left to right and vice versa can be assessed based on what the top, bottom of the picture, its left and right sides mean (see tables 1, 2 above).

For example, movement from left to right can be interpreted as from the past to the future, from the hidden to the manifest, etc. The assessment of movement, as well as other diagnostic features, is considered in relation to the overall picture and other aspects.

2.8 — Time to draw

The time taken to create a drawing can provide information such as:

About the speed of mental processes, human temperament;

Degrees of immersion in the work on the drawing;

Energy or, conversely, a breakdown, a depressive state.

To better understand the client, it is important for the therapist to observe the drawing process. At this point, valuable information can be obtained. Especially when the client is fully involved in the work, the degree of his conscious control decreases. And uncontrolled non-verbal manifestations become more noticeable.

4. Drawing techniques for reacting and psycho-correction

As mentioned above, it is better to use paint to work with emotions (rather than pencils or other hard materials). Good results are obtained by drawing on wet paper, for example. In group work, collective drawing on wet paper is effective after the participants have passed the familiarization period. This type of drawing (and some similar techniques) contributes to immersion in oneself. They are good to combine with meditation techniques.

An exception may be working with anxious clients. It is better for them to offer solid visual aids or stimulus material (ready-made templates or a set of drawings, maps, photographs). Solid materials are also suitable for responding to aggressive states, fears.

There are other ways to stimulate the "splash" of emotions. This includes in particular:

Work with plastic materials (clay, plasticine, salt dough),

Creation of three-dimensional compositions (from paper, for example - how to work with fears),

- "sand" techniques,

Creation of mandalas - images in a circle (drawing in a circle, painting round objects - plates, Easter eggs, etc.).

Most of these techniques give, among other things, the effect of psycho-correction. However, like almost any work in art therapy. The process of correction, to a certain extent, begins already at the stage of their implementation.

However, a deeper effect is achieved with the help of multi-stage, multi-modal techniques. For example, a drawing is made on wet paper. Further, it is used to create a collage; an emotional response to the collage is written using the technique of intuitive writing. After that, it is possible to offer to dramatize (play on stage) the experiences from the image and text. Then, as an option, you can create an image of the ideal state - in the form of a drawing, sculpture. The completion of the process can be the creation of a talisman - as a kind of "anchor" - a reminder of changes in one's usual life. In fact, one theme runs through all techniques, channels of perception. She seems to be viewed from different angles. It is felt, manifested by different faces. And with each new technique, its study deepens.

In addition, in long-term therapy, for example, serial techniques are used - the same technique is performed over several sessions. Serial drawing of mandalas works well.

In general, art therapy opens up incredible opportunities for creativity. Techniques can be created by the therapist intuitively for a particular person or group. In this case, intuition, the ability to empathize are important qualities of a specialist and components of the success of the therapeutic process.

I hope the information above will help you feel more confident when working with clients using art therapy.

With faith in your success and sincere respect,

Olga Gritsenko, psychologist, art therapist, member of the Art Therapeutic Association (St. Petersburg)