Minimum of 270 lessons in an experiential-educational group.
106 hours of additional psychotherapy in a group analysis, that is 53 sessions of which each lasts 90 minutes.
200 hours of theory which consist of 25 sessions of theory lasting 120 minutes respectively with the trainers and another
20 sessions lasting 120 minutes respectively in students study groups. The students should write theoretical papers as well
as an outline two pages long for every session of theory.
Student should be a protagonist three times.
Student should lead the psychodrama or a vignette twice or three times as a director. He should lead the process twice
or three times successfully.
He should write:
1. The personal biography with the psychodynamic and psychodrama approach.
2. The professional biography, previous schooling, the faculty from which he graduated. If student is near the end of
his studies, he should specify how many exams are still left to pass. Perhaps the postgraduate study, residency, present and
previous jobs, volunteering. Number of experiential lessons in psychodrama education within SPA Moreno. Number of lessons
in a different psychodrama education. Number of lessons he has spent in a different form of psychotherapeutic education.
Number of lessons in any form of psychotherapy and the selfassessment of the previous psychotherapeutic experience. Perhaps
he has had some clinical experience within the mental health work and in leading the groups.
3. A paper: My experience in psychodrama, in group process, in warming up, as a protagonist, as a double, as an auxiliary
ego, as a director and as a group member in sharing.
4. An analysis of two psychodrama sessions. He ought to write papers from the theory and a draft or a paper on the process
which the student led.
The trainer's assessment of the students readiness for the exam and what he should still pay attention to.
EXAM: The student leads the group from the beginning of the session in the presence of two or three Examining Board members.
The student follows the group developments and leads warming up which should be in accordance with the group developments.
When it is possible, the student follows the group developments and the interpersonal relationships in the group on the scene
with a psychodrama approach, that is he sets on the scene the aspects of the group process if it is in accordance with the
He should choose the protagonist but the student should have in mind that the all group members during the session are
sometimes the protagonists and when it is possible, he should pay attention to them.
The cooperation with the protagonist and the group. The tele phenomenon in the group. The student should, if he has an
excellent idea which is not in accordance with the protagonist and the group, desist from the idea and follow and support
the protagonist; they should converge and not diverge.
The choice, the setting and the leading of the scenes. The director and, up to the exent it is possible, the protagonist
should understand the rationale of the scene. He should use the psychodrama methods, introduce other persons in the scene
(as the auxiliary egos), reverse the roles when the protagonist expressed himself enough. The student should know when to
leave the protagonist longer in the role of another person, to make doubles, to enable the protagonist to benefit from the
doubles, pay attention to the mirroring and the surplus reality. The student should follow the emotional smoke of the protagonist
and the group, enable the full development of the scene and he should not interrupt the protagonist when he is emotionally
inspired. He should notice if the protagonist runs out the energy, if he is inhibitted by something and to work on it. The
director should feel when to be near the protagonist and when to withdraw and let the scene develop. The student should notice
if the relationship between him and the protagonist became drama and he should explore it on the scene introducing new auxiliary
director; he should withdraw from the focus. The student should explore present and interpersonal relationships in a psychodrama.
The student should follow the possible destructive processes in the group (the anti-group) and point to them to the group.
The student should follow his own personal processes during the drama and be able to express them later in the process of
selfassessment. He should return the protagonist into the present and the reality at the end of the action of a psychodrama
scene. The student should be aware of the time passing and he should know when and how to end the drama.
The student leads the sharing, insists that the group members ought not to analyze and not to give advice but to share
their experience if they took part in some role on the scene, their identifications and the counteridentifications, to discern
the similarity and the difference of the experience of the group members. If a group member felt an intense emotion during
the drama, the student-director should encourage him to share it with the group if it is possible. If there is still time
left and if it is in accordance with the group developments, the student should offer a short action sharing. If he led a
vignette until the sharing and there is still time left and the group is warmed up, the student should set another vignette
until the end of the action part of the exam drama. The student is not asked to be perfect but to be secure, safe for the
group and to lead the group well enough. The student should not feel uneasy because of the previous notes because these are
only pieces of advice and we are aware that nobody can lead the drama and the group ideally. The important thing is that the
student should feel, understand and trust the psychodrama group process, be in harmony with the group developments and the
protagonist and that the student-director should not become an obstacle but he should work with and follow the group. After
the sharing has been ended, there is 15 minutes break when the student prepares the selfassessment of the group leading.
After that a brief process ensues when the rest of the students comment and put questions.
The questions which the Examining Board asks the student. What does the student assess to have been done well and what
has been perhaps less than well? What was important in the drama with the protagonist and what was important in the group
process? Does the student notice both the content of the drama and how much can he analyze the content of the drama and its
process? Can the student imagine the alternatives? What was psychotherapeutic? Does the student understand the feedback and
possible critisicm and how much can the student integrate in his future work the group;s and the trainers; comments? How big
is the student;s capacity to improve his work and personal psychotherapeutic process? The Examining Board may ask the student
theoretical questions, too, connected with the psychodrama he led when the student may link his selfassessment with the theory
of the psychodrama and group psychotherapy. I repeat that these remarks should not hamper the student because there is neither
ideal selfassessment nor drama analysis.
The Examining Board assessment:
1. Student passed the exam.
2. Student passed the exam under certain conditions. It is necessary that the student should lead some more psychodramas
as a director, to be a protagonist and perhaps to write some more papers. He should follow his psychotherapeutic process both
as a group member and as a student-director. This should happen in the period of time set by the Examining Board.
3. It is necessary that the candidate should take the whole exam again. The date of the exam is agreed upon by student
and the trainers.
The Examining Board gives the written and oral assessment and feed back.