Miriam Polster (2000) demonstrates supervision with Wendy, a clinical social worker who conducts therapy in the home. Polster’s supervision focuses on finding Wendy’s unique gifts and how these can be integrated into therapy. Next, Steve is working with a woman who has a history of bulimia and has threatened suicide. Polster follows this demonstration by explaining her work.
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Zerka Moreno (2000) emphasizes the importance of spontaneity and creativity while demonstrating with Christi, who is asked to see her family photo and then construct it on stage using volunteers from the audience. These volunteers act as “auxiliary egos.” Following this demonstration Moreno plays all of the characters in a rolereversal she did with her 3 year-old son.
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William Glasser (2000) uses role-play with Marie who is simulating Paul, a male client from her place of employment. Paul has marriage problems. Marie, as Paul, is asked to role-play his wife. Glasser highlights choices, examines the client’s thinking, and focuses on responsible behavior. After the demonstration Glasser explains his work.
Alexander Lowen (2000) demonstrates with Ann, who he used as a ten years earlier. She reports that since that first session she has been free of severe asthma attacks. She is now troubled by the death of her father and mother, abuse from her brother, excessive weight gain and the onset of menopause. Lowen guides her through a series of movement exercises.
Albert Ellis (2000) demonstrates with two volunteers. The first volunteer is angry and intimidated by her supervisors. Humor and imagery are incorporated. The second volunteer feels a need to control others and is angry when she can’t. Ellis uses imagery to correct cognitive patterns and produce an emotional shift.
Eugene Gendlin (2000) demonstrates with two volunteers. The first is guided through feelings of tension in her shoulders and shakiness in her stomach. Gendlin conducts a second demonstration. The next volunteer presents the trauma of a hysterectomy due to cancer. Gendlin concludes with an explanation of his method.
James Bugental (2000) explains the importance of focusing on immediate subjective experiences. Bugental works with Glenda who is experiencing deep guilt about an upcoming divorce. Bugental addresses questions from the audience. A second volunteer explores issues surrounding her recent career change. Bugental explains his approach and answers questions.
John Gottman and Julie Gottman (2005) demonstrate through role-playing the ways therapists can break a couples’ gridlock due to conflict. Through an intervention of “dreams within the conflict,” therapists are shown how to help couples be more open for dialogue in order to successfully compromise on unresolvable issues.
Stephen Gilligan (2008) demonstrates the induction of a trance with a volunteer who wants to “feel at home” with herself, but often feels disconnected and scattered. He invites intention and uses mindfulness and body movement to release the weight of fear and disconnection. Afterward, the volunteer claims the experience was “intense,” and “beautiful.”
Marsha Linehan (2009) provides dynamic, engaging demonstrations with two separate volunteers using nonjudgmental “chain analysis” to identify their problem behavior and look for controlling variables. Rather than using self-discipline, she suggests practical methods such as listing pros and cons and setting up consequences if the behavior continues. Both volunteers reported great satisfaction with the process.
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