elen web-page contents will be updating till January 2019
elen web-page contents will be updating till January 2019

PSP: in few words

PSP (Process-Stage-Praxis) is an approach for embodied interaction, devised by the Gestalt therapist Petros Theodorou since 2006.

PSP is not an autonomus psychotherapeutic modality or some form of art-therapy and

PSP does not substitute professional training in these fields. 

 

PSP is an adjunctive skill (a complementary tool) for any kind of work that has to do with process and awareness: psychotherapy, counseling, social interventions, education, art, Organizations / work-field.

 

It is noted that:

  • (a) “process” is meant as the continuously flowing stream of our personal experience producing the sense of “I am” and of our subjective physical and psychological reality,
  • (b) “awareness” is meant as the ability to sense what happens in this stream on multiple levels (it is a fundamental means of personal growth and the “fulcrum” of any kind of work with the process).

PSP is not some kind of art-therapy, and not an autonomous psychotherapeutic modality. PSP enriches the “palette” of the already acquired tools/skills of anyone working in the above mentioned fields;

Since October 2016 Basic Programs are systematically organized introducing the coral PSP ideas in theory and praxis.

They usually cover 100 hours of training, that can be spread in two-days or one-day or even three or four-days series of meetings (modules). For example, a weekend structure, includes 6 meetings of 16 hours each one, every 5-7 weeks.

These PSP Programs, are very flexible, according to the needs of the participants and their field of work.

Such a Program’s structure includes alternating zones of theory, practice, summarizing, demonstrations, discussion and sharing, getting familiar with the body, the movement and the concept of improvisation in life. The Program by its nature includes movement and interaction.

….Developing skills and tools potentially useful to integrate in unique ways collective and individual levels of work in group settings (while all the group is active as a whole “organism”, at the same time, every participant works also on a personal level). This integration of collective and individual levels of work, is one of the more powerful points of any PSP employment, with often surprisingly deep and strong effects.

….Further enrichment of their own awareness and authenticity of presence, while getting more familiar with their own bodies and movement and supporting their own experiential flow.

….Developing skills and creative imagination in order to devise directly, “on the spot”, by employing creative imagination, ways to: (a) “stir the process” in both individual and group work settings, (b) structure appropriate PSP patterns that can be used as experiments (“exercises”) supporting some at an instant emerging need of the individual or group work, (c) enhance vividness and participation in the group/individual awareness work.

The theoretical backbones of PSP are based:

  1. on existential philosophical views,
  2. on the ideas in the fundament of the Gestalt therapy theory,
  3. on several recent developments in neurophysiology and phenomenology, regarding the microstructure of the human experience synthesis and its implicit and bodily elements,
  4. on concepts that were devised especially to bridge the PSP theory with its praxis in its applications:

(a) the “personal film”,

(b) the “motif”

(c) the “body intention”,

(d) a flexible structuring “model” of exercises for the PSP implementation (“1000+1 patterns for the embodied improvised interaction”).

Some areas of the PSP theory are:

… The embodied field: co-creation of the relational space and interaction in our meetings; principles of the “phenomenological field theory” and of the “phenomenological method”; the concept of the awareness continuum (zones and levels of awareness and their connection with consciousness); principles of the existential dialogue; the “syntax” in the contact processes; the nature and the “paradox theory” of change; the concept of the relational self; the “middle mode” of experience.

… The “body-object” and the “lived body”; temporality; the microstructure of human experience and its embodied foundation; time, brain, affects-emotions-feelings; intersubjectivity, the “space between”, verbal and non-verbal narration.

… Building “meaning”: the interweaving of the embodied and cognitive “agendas” of our experiential stream.

… The improvisational nature of physical reality, of life and of human experience; stirring and triggering out the immense possibilities of creative imagination; the concepts of “self-organization” and of “entropy” in nature, in life, in our experiential stream and in our interactions; the embodied empathy.

… The polyrhythmic, polyphonic and multi-temporal nature of our experiences; how our experiential micro-units articulate and “fold” in themselves to form longer and complex experiences; how the microstructure and macrostructure of our experiences co-operate to create the sense of past, present, future.

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