華人社會孝道文化親子議題的心理劇模式建構－任務分析法的應用

本研究旨在應用任務分析法，建構華人社會孝道文化親子議題的心理劇工作模式。研究目的以賴念華博士所發展的「華人文化脈絡取向心理劇」，作為理念模式，探討成年人主角與父母間親子關係議題的心理劇演出歷程，以建構實作模式。本研究蒐集了五位來自中國和臺灣的女性主角之親子關係議題心理劇，探討主角在實際表現的「起點」和「終點」行為，整理出心理劇的介入要件和階段任務，並連結華人孝道文化、心理劇等理論，說明實作模式的治療特點。本研究結果與討論，分成下列四部分：（一）呈現五位主角的心理劇歷程，在親子議題中起點行為有二，包括：（1）壓抑負面情緒與內在需要；（2）規避逃離與自我犧牲的因應方式，與華人孝道文化和社會規範有關；經過心理劇後，其親子議題困境皆出現建設性轉化，終點行為有四，包括：（1）在親子關係中的情緒釋放與情感表達；（2）個人的自主決定權與親子互動界線拿捏；（3）主角對於父母所處生命脈絡的整體理解；以及（4）親子關係的延續發展。（二）實作模式共發現十七項介入要件，包括：（1）與導演建立合作關係；（2）在團體中感到自在安全；（3）設置與說明孝道困境的場景；（4）跳脫既有視框探索孝道困境的整體脈絡；（5）辨識孝道困境中的僵化模式和定錨因應方式；（6）賦能關係脈絡中的「自我」；（7）設立界線鬆動僵化孝道行為；（8）暖身面對孝道困境衝突場景；（9）挑戰父母權威說出想法感受；（10）宣洩在孝道困境中的壓抑情感；（11）體會孝道困境中父母對子女的深層情感；（12）瞭解父母在其環境脈絡中的心情狀態；（13）暖身準備親子關係的會心對話；（14）體會父母對子女的關愛期望；（15）展現自發改變的親子互動；（16）核對目標達成與定錨改變；和（17）結束演出回歸團體。反映出的三個治療意義為：（1）實作模式呈現出「暖身至行動」的暖化情緒的細緻步驟；（2）實作模式展現出主角從「自我至人際」的關係理解；以及（3）實作模式清楚說明親子「會心與自發改變」的衝突轉化。（三）實作模式的改變歷程分為九項階段任務，包括：（1）與團體建立安全共創的合作關係；（2）鬆動「自我對待」中的僵化孝道行為；（3）探索與評估孝道困境的整體脈絡；（4）鬆動「親子互動」中的僵化孝道行為；（5）理解親代在孝道困境中的狀態；（6）在孝道困境中充分宣洩情緒與表達自我；（7）在整體脈絡中與親代會心；（8）親子關係互動的自發改變；和（9）定錨改變回歸團體。此九項任務由前述提及的十七項要件組合，重複出現以達到任務目標。（四）本實作模式可應用孝道雙元模型，理解五位主角的親子關係議題，分為四點為：（1）以子代的基本心理需求出發，催化演劇動力；（2）突破權威性孝道所產生的僵化關係結構；（3）轉化從「尊尊」至「親親」的親子關係運作原則；（4）定錨社會變遷中的核心情感。最後依據研究結果與討論，提出對未來研究和心理劇實務和督導訓練之相關建議。

關鍵字

心理劇；任務分析；孝道；家族主義；華人文化

並列摘要

This research has applied Task Analysis, aiming to construct a psychodrama model handling the parent-child issues regarding to filial piety within Chinese society. Based on the ‘psychodrama of Chinese Cultural Context Approach’established by Professor Nien-Hwa Lai as the conceptual model, the purpose of the research is to construct a practical model by exploring the stage of psychodrama enactment dealing with an adult protagonist handling the relational issues with the parent. This research was conducted in sessions with five females from China and Taiwan, whose psychodrama dealt with parent-child issues. It explores the ‘beginning’ and the ‘end’behaviors in their performance and summarizes the psychodramatic elements of intervention and the tasks in stages. It also links with theories of Chinese filial piety, psychodrama and others, to illustrate the therapeutic characteristics of a practical model. The research results and the discussion are divided into four sections: 1. The demonstration of the psychodrama processes of five protagonists. There are two beginning behaviors in the parent-child issues: (1) suppress negative emotions and inner needs; and (2) cope with the situation by avoidance and sacrifice, which is related to the Chinese culture of filial piety and social guidances. After the enactment, the dilemma of parent-child issues has shown constructive transformation with four ending behaviors, which include (1) the catharsis and affective expression in the relationship; (2) the individual autonomy and the sensitivity for interaction boundary; (3) the protagonist's full understanding of the context of the parent's life; and (4) the continuation and development of the parent-child relationship. 2. The seventeen intervention elements found by the practical model are as follows: (1) build on a cooperative relationship with the director; (2) feel safe in the group; (3) set up the scene of the filial piety dilemma and its illustration; (4) go beyond the current perspective to explore the context of the filial piety dilemma; (5) identify the rigid patterns in the dilemma and the anchoring; (6) empower the 'self' in the relationship; (7) set up the boundaries and loosening up the rigid filial behaviors; (8) be warmed up to face the conflicted scene; (9) challenge the parent's authority and express one's own feeling and thinking; (10) release the suppression in the filial piety dilemma; (11) experience the deep affection of the parent toward the child in the dilemma; (12) understand the moods of the parents in their environments and contexts; (13) be warmed up for the encounter and get ready for dialogue; (14) realize the care and expectation of the parent for the child; (15) demonstrate the spontaneous change in the parent-child interaction; (16) check with the aims and anchoring changes; and (17) finish the enactment and go back to the group. These reflect three therapeutic meanings: (1) 'From warm-up to enactment' stages, the practical model illustrates the detailed steps of warming up the emotions; (2) the practical model demonstrates the protagonist's understanding of the relationship 'from self to others'; (3) the practical model clearly describes the conflict and the transformation ‘in the encounter and the spontaneous change'. 3. The changing processes of the practical model contain nine tasks in stages: (1) build a cooperative relationship with the group which is safe and co-creating; (2) loosen the rigid filial piety behavior of 'one's treatment to oneself'; (3) explore and assess the context of filial piety dilemma; (4) loosen the rigidity in 'the parent-child interaction'; (5) understand the condition of the filial piety dilemma in modern society; (6) release emotions and express oneself completely in the dilemma; (7) meet the parent's generation in the context; (8) the spontaneous change of the parent-child interaction; and (9) the change of the anchor and return to the group. These nine tasks, combined with the above-mentioned seventeen elements, have repeatedly been shown to achieve the task goals. 4. While applying the filial piety dual mode, this practical model illustrates four understandings of the psychodrama conceptualization from the parent-child issues of the five protagonists. They are: (1) start off the basic psychological needs of the child generation and facilitate the enactment dynamic; (2) break through the rigid structure of the relationship resulting from authoritarian filial piety; (3) transform the operational principle of the parent-child relationship from 'respectfulness' to 'closeness'; (4) anchor the core affects among the transitions of the society. Based on the research results and discussion, relevant suggestions for future research, psychodrama practice and supervision training have been proposed in the end.