From the author: The article was published in the newspaper “Psychologist” No. 13-14, 2012. Any illness in itself is a traumatic factor. Consequently, psychotherapy and, in particular, art therapy play an important role in the complex treatment of psychosomatic diseases. Thus, famous psychotherapists R. Goodman, M. Libman, A. Mishara note the positive impact of art therapy not only on improving the general physical and mental condition of patients, but also on their relief from psychosomatic disorders. The objectivity of these data is confirmed by psychophysiological research. In the process of art therapy, a person’s attitude towards his own past traumatic experiences, worries and illnesses changes. And the achieved psychotherapeutic effect is expressed in the streamlining of psychosomatic processes. Visual activity allows you to achieve a state of mental comfort. At the same time, the “artist” turns into a “spectator”, distancing himself from the problem, as if observing its transformations from the outside. There are quite a large number of theories and models of the occurrence of psychosomatic diseases and methods of their classification. Characteristically oriented trends and personality typologies. In ancient times, Hippocrates and then Galen described people with different types of temperaments - sanguine, choleric, melancholic and phlegmatic. In modern medicine, the application of this approach has acquired great importance in the study of a certain typology of “risk individuals.” Psychoanalytic concepts. The scientific basis on which psychosomatic research subsequently developed was laid by 3. Freud, who created the conversion model, according to which infringed emotions give rise to conversion symptoms. Socially unacceptable instincts (aggressive, sexual) that are repressed from consciousness break through, taking one or another symbolic form. Theories of this direction also include: Schur’s theory of de- and resomatization, Engel and Schmale’s model of renunciation of faith in the future, Freiberger’s concept of loss of an object, concept two-phase defense, or two-phase repression, Mitscherlich. Alexander's theory of specific psychodynamic conflict. Alexander was the first to propose in 1950 a theory according to which the symptoms of autonomic neurosis are not an attempt to express suppressed feelings, but a physiological accompaniment of certain emotional states. Alexander speaks of autonomic neurosis in the case of constant physiological accompaniment of emotional states of tension in the absence of action directed outward and relieving tension. At the second stage, reversible functional symptoms lead to irreversible changes in organs. Integrative models. Initially, a differently oriented independent line of development of psychosomatic theory comes from the study of a large contingent of patients with so-called functional disorders without a pathological organic basis. The concept of alexithymia is the inability to emotional resonance and “operational thinking” (concrete thinking, freedom from dreams), the inability to express one’s own experiences, emotions and sensations, a person’s inability to be in contact with his own inner world. The theory of stress - experimental psychological, clinical physiological, biochemical and cytological studies of the consequences of emotional stress, establishing the influence of extreme and chronic stressful situations on the susceptibility and characteristics of the pathogenesis, course and therapy of psychosomatic diseases. Neurophysiological direction which is based on the desire to establish relationships between individual psychophysiological characteristics and the dynamics of visceral manifestations. Psychoendocrine and psychoimmune direction of research, studying a wide range of neuroendocrine and neurohumoral phenomena in patients with psychosomatic diseases (psychoendocrine testing of characteristics and levelssynthesis of catecholamines, pituitary and thyroid hormones, specificity of immunograms). The search for “specific neurohormonal support” of emotional response showed that a high level of personal and situational anxiety is associated with multidirectional neurohormonal shifts. The theory of impaired functional asymmetry of the brain as a cause of psychosomatic pathology. The concept of hostility. According to this hypothesis, anger and hostility can play a significant role in the etiology of various severe somatic diseases. The literal meaning of the term “psychosomatics” is associated with two of its interpretations, based on the translation of the Greek words “psyche” - soul and “soma” - body. Thus, through this term the connection between our psyche, mental experiences and bodily reactions, symptoms becomes especially obvious. The basis of any psychosomatic disease is a reaction to an emotional experience, accompanied by functional changes and pathological disorders in the body. According to modern concepts, psychosomatic diseases include: bronchial asthma; ulcerative colitis; neurodermatitis and other skin diseases (psoriasis, vitiligo); rheumatoid arthritis; cardiovascular diseases (including hypertension); oncological diseases; frequent colds; stomach ulcer; nervous tics; enuresis; migraines and frequent headaches; prone to accidents; sleep disorders; enuresis; encopresis; constipation; bulimia; obesity; vegetative-vascular dystonia and a number of other disorders that are the initial stages of diseases that become more pronounced in later life. There are seven main causes of psychosomatic diseases: Internal conflict. A conflict between parts of the personality, conscious and unconscious, a conflict between the eternal “I want”, “can” and “should”, combat between which leads to a destructive “victory” of any of the parts. For example, when overeating, you can often hear an internal dialogue when one part of the personality says: “I want to console myself, please myself with food, forget all these troubles.” And the second part screams: “Stop eating right now, look who you look like.” The task of psychotherapy in this case is to reconcile both of these parts with each other. Motivation. Or, more simply put, a conditional benefit from illness. This is a very serious reason that causes strong resistance when realized. For example, often a person suffering from a serious illness is a source of increased attention, love and care from family members and loved ones. And it is very difficult to admit to yourself that the fear of losing such support is preventing you from recovering. The effect of suggestion by another person. Family scenarios or family patterns take place here. For example, if there is a disease such as diabetes in the family, parents may, out of fear, limit their child’s intake of sweets and frighten them with this disease from early childhood. It’s paradoxical, but even with such strict restrictions, there is a high probability that the child will still get sick, precisely because he was taught about diabetes from the cradle. Elements of organic speech. Everyone has long known the common phrase “Our thoughts are material.” The brain perceives everything that we say and think about as a guide to action. Therefore, illness can be the physical embodiment of a phrase, for example: “My heart hurts for him,” etc. Identification with a significant person. This is an attempt to be like someone. But, constantly imitating another, a person seems to distance himself from his body, and the body usually does not forgive such an attitude towards itself and begins to hurt. Self-punishment. If a person commits an unseemly act from his point of view, he sometimes unconsciously exposes himself to punishment. Self-punishment is a very common cause of many injuries and somatic disorders. Painful, traumatic experiences of the past. This is the most serious and deepest reason. As a rule, these are mental traumas of early childhood, about which a person may not be aware.on a conscious level he no longer remembers. But bodily memory remains with us forever. The common, basic cause of psychosomatic diseases is alexithymia. This is a person’s inability to express his emotions, feelings, experiences. As a rule, alexithymia is observed in socially well-adapted people who have been accustomed since childhood to a ban on self-expression. Then the language of the organs, pain sensations become an “uncomfortable” attempt by the body to integrate with the psychological, emotional side of a person’s life. In the case of a psychosomatic illness, the goal of psychotherapeutic work is to reveal the psychological conflict that lies behind the symptoms; restructuring of the personality as a whole and its relationships with the outside world. In the process of such work, the symptoms weaken and disappear as the above goals are achieved. The prevalence of psychosomatic disorders in childhood is significant and, according to various researchers, amounts to 40-68% of the number of those who seek help from general practitioners. The fact that art Therapy serves as an essential element in the treatment of the above diseases - an obvious fact. Children with psychosomatic disorders usually have difficulty relieving emotional stress. The use of art therapy facilitates the response to experiences and fantasies, promotes behavior change and improvement of health through the formation of an internal picture of health. At the same time, the vision of the internal picture of the disease, that is, the dynamics of the child’s own perception of his disease as it is treated, is also of significant interest. how self-monitoring has a powerful therapeutic effect. You can ask the child to draw his illness and how he imagines a way to get rid of this illness. And in accordance with this, conduct art therapy. In developing a program for working with psychosomatic disorders in children, the structure of psychotherapy was used, aimed at overcoming alexithymia in children by O. F. Makarova. During individual and group sessions, all main channels of information perception were used and activated: visual, auditory, kinesthetic. During the discussion, the children's attention was drawn to the state of all bodily zones. Psychotherapeutic techniques for working with alexithymia were as follows: I. Getting to know emotions, their gradation. Art therapeutic technique “Map of Emotions” The proposed technique is based on the technique of T.D. Zinkevich-Evstigneeva - D.B. Kudzilova “Map of a fairyland” and art therapy session “Coloring emotions and feelings” L.D. Lebedeva. This technique (author Yu.V. Nikonorova) is multi-purpose and suitable for working with all age groups. The main attention is paid to identifying the emotional potential of the individual and the associated behavioral and activity patterns. The technique is effective in correcting emotional states and emotional properties of the individual, opens up wide opportunities for self-knowledge and introspection, development of the emotional sphere as a whole. Materials: sheets of white paper in A-1, A-3, A-4 format; all kinds of visual materials: felt-tip pens, colored pencils, pastel crayons, crayons, watercolors and/or gouache. Main stages: 1. Setup Goal: to identify semantic richness when describing emotional states, their significance for the individual, the correlation of emotions of different signs, to actualize your emotional state at the moment. Each participant is invited to take a comfortable place in the office space and compile a “dictionary” of emotions and feelings: “Try to describe the whole variety of emotional manifestations that a person can experience. Remember the various situations in which you or people close and familiar to you found yourself. How did you feel? Remember the emotions and feelings you experience towards different people. It is necessary to write down all words that characterize a person’s emotional state, including synonymous words, since they can meanvarious shades of emotional manifestations. Conditionally negative emotions should not be avoided.” When the “dictionary” has been compiled, participants are offered the following instructions: “Highlight (underline, circle) in your “dictionary” the name of the emotions or feelings that characterize your state at the moment, and depict them using lines , abstract shapes and colors on a sheet of paper of any format.” Next, you can invite the participants to exchange impressions of the work and try to “read” each other’s drawings. 2. Individual work Participants sit comfortably in the office space They choose a wide selection of various visual arts. means and paper of various formats contributes to greater freedom of emotional and creative expression. Before giving basic instructions for art therapeutic work, it is advisable to discuss with the participants what symbols are found on different types of maps. For example, mountains, plains, depressions, streams. , rivers, swamps, seas and oceans, volcanoes and much more. Instructions: “We are going on a journey through the magical land of our inner world, the land of emotions. The emotional world of each of us is extremely diverse, multifaceted, its manifestations are personal in nature, and therefore individual for everyone. Try using any visual means to create a map of your country. First, mark its boundaries. Draw the landscape, filling it with various emotions and feelings. So that you can use this map and return to it after some time, you need to create a table of symbols. They can be colors and/or special symbols that denote a particular emotion. Imagine yourself as a traveler. Plan your travel route. Mark the points of entry into and exit from the country. Write a story about your country, describe its features, give a name. You can choose the genre of description at your own discretion. It could be a story, a fairy tale or a presentation. Think about who can get into this country, what is needed for this, what places would you recommend visiting, and where would you not be allowed?”3. Verbalization stageParticipants optionally show their drawings, talk about the images on the maps and read stories. The client’s active position at the verbalization stage contributes to a deeper understanding of their own experiences and their interconnection.4. Collective work At this stage, participants create a common map of the group. Instructions: “Draw your emotional state at the moment on a common sheet of paper. Draw the free space of the sheet so that you get a map of the group’s inner world. Agree on the content and methods of depiction. Show the route or routes of travel around this country. Come up with the history of this state, describe it, give it a name.”5. Reflective Analysis Stage: Those present exchange feelings and associations that they experienced during the process of creating a common map. Share impressions received during the entire lesson. Discuss the features of individual and joint work. They note in which case they felt more comfortable. To do this, you can ask participants to compare the emotions they depicted during the mood stage with those that were drawn on the group map. In addition, this allows you to trace the dynamics of a person’s emotional state during the lesson. For young children, it is advisable to use the program of emotional and volitional development for children and adolescents (T. Grabenko, T. Zinkevich-Evstigneeva, D. Frolov “The Magic Country Within Us”) .II. Playing out various emotions with the whole body or its parts by one of the participants, followed by guessing them by other members of the group. Exercise “Guess the emotion.” Goal: study of bodily manifestations of emotions. Materials: cards with inscriptions of emotions. Instructions: Each of you will receive a card. It is necessary to show how this or that fairy-tale hero feels. (The psychologist gives the players cards with the inscription, helps them tune in,explains the situation that caused this or that emotion, encourages the unsure). And now the players take turns showing the emotions of their heroes, and we guess what emotion it is. The psychologist asks children to name emotions either using nouns (what does this character feel, what is this character experiencing? - fear, joy, interest, resentment...) or using verbs (what is this character doing? - afraid, happy, interested, offended. ..).III. Scaling bodily sensations using color and temperature.IV. Association of individual emotions with various sounds, including the sounds of musical instruments. The exercise “Colorful sounds of my body” is well suited for the implementation of stages III and IV of work. Purpose: Learning to be aware of the reaction of your body, general state and ways to express your state. Materials : Half a sheet of Whatman paper A1 for each participant, watercolors or gouache, water jars. Instructions: sit comfortably, close your eyes and focus on the sensations of your body. Let your attention wander freely to different parts of your body for a few minutes. After this, focus on the sensations in your head from the back of your head. Imagine that the back of your head has a sound. It can sound like some kind of musical instrument or make very special sounds. Listen to how it sounds. Now move your attention to your temples. They also have their own sound. Listen to him. Move your attention to your face. Listen to the sound of your eyes, nose, cheeks, lips, chin. Then listen to the sound of your throat, the back of your neck. So, gradually moving, listen to your shoulders, arms, hands, chest, back, stomach, lower back, genitals, buttocks, legs and feet. Perhaps each arm or leg will sound different. Listen to them separately. You will hear a variety of sounds as you do this exercise. Some you will like, others will cause irritation, bewilderment, and anxiety. Pay attention to those parts of the body whose sounds struck you as cacophony, creaks and other inharmoniousness. Such sounds can occur due to illness of the internal organs, as well as due to muscle tension. In some areas of the body you may encounter absolute silence. This is also the result of muscle tension and forbidden feelings. In the future, when performing a task, try again and again to establish contact with this area. If nothing changes, this may be a sign that you need to work on unlocking your body.2. After some time (on the same day, after resting, or the next day), draw on a full sheet of whatman paper a full-length silhouette of a person: head, body, arms, legs, outlined with a pencil or felt-tip pen and white (unpainted) inside. Draw with paints, how you feel every part of your body. To do this, focusing your attention on the sensation in a given area of ​​the head or body, listen to its sound and at the same time see what image and what color appears before your inner gaze. Try to paint this image using these colors within the silhouette. Don't worry about the image being conveyed accurately. Let it be as it happens. It's just a symbol of how you feel. So gradually paint over the entire silhouette. Look what you got. What areas do you not like? Why? Where do you see dissonance? What is it expressed in? Once you have completed your drawing and analysis, roll up the paper and set it aside for a few days.3. After a few days, draw the silhouette of the person again. Now do the “Man Orchestra” exercise again, but in a modified form. If you like the melody, then visualize the feeling and melody and depict your feeling with colors on a silhouette. If you don't like the feeling and the melody, then visualize it, and then gradually change the image, and the melody, and the feeling until you get something you like, and then depict it in the silhouette. Look what you got. Compare with the previous self-portrait. What has changed?4. For a week, every day, focus on those areas of your body that you had to transform. ANDIf you don't like the sound, look and color, change them again until you are satisfied. In the event that the sensation, image and melody stubbornly return to the same, begin to communicate with the image of the sensation to understand what it wants to tell you.5. After a week, repeat the exercise again. Look what you got. Compare with previous drawings. You can express your emotions not only with the help of paints. For this you can use, for example, plasticine or other material. It all depends on your creative thought. Discussion: Show what you did, which areas you don’t like, why? Where do you see dissonance? What is it expressed in? What parts of the body do you like? Tell us what you think the colors you took for each part mean? Summary: we can hear our body and see it in different colors. When you do such exercises, you not only begin to better understand your condition, express it without words, but also relieve stress.V. Non-verbal dialogues of various contents using gestures, musical instruments, toys and other objects. At this stage, the art therapy technique “Conflict Lines” is effective. The technique is suitable for working in a group of up to 15 people (effective in the format of individual art therapy). the therapeutic space includes a circle of chairs and personal workstations (table and chair) for individual creativity. Materials: sheets of white A4 paper, felt-tip pens (or colored pencils, pastel crayons), tape, colored plasticine, white clay and foil. Main steps: 1 . Individual workInstructions. Draw a conflict situation that is subjectively significant to you as a “conversation between two lines.” To do this, first take a sheet of A4 paper, put the number 1 on it, and attach it to the table with tape so that the sheet does not slip during work. Choose two markers (pencil or chalk) of different colors, conventionally indicating you and your opponent (opponent, rival). In your working hand, take a felt-tip pen of the color that will be used to draw the line of your behavior in the conflict. In the non-working hand - a felt-tip pen of a different color to indicate the behavior of your conditional opponent. Draw the dynamics of a conflict situation using lines without lifting the markers from the paper. After completing the work, turn the sheet over and set it aside. On the second sheet, depict the same conflict situation, swapping the markers in your left and right hands. Thus, in the second picture, the working hand depicts the lines of your opponent’s behavior in a conflict, and the non-working hand depicts the lines of your own behavior (in the same color). In a word, the originally chosen color of the markers is preserved on the second sheet of paper. Think about what you see in the drawings and try to write a story “from the perspective” of each line. What does the resulting drawing tell you? What symbolic meaning does it carry? What new did the lines tell you about the conflict situation and how to resolve it? Next, using various materials (colored plasticine, clay, foil), depict the outcome of the situation: create metaphorical images of yourself and your opponent as a result of the conflict confrontation. It is also useful to build dialogues between the lines and the simulated images, which will help clarify some of the significant nuances of the conflict. Upon completion of the work, each participant is asked to answer the question in one or two words: “What material is foil for you?” The answer, with a high degree of probability, can be interpreted as an updated characteristic-metaphor of self-perception (self-attitude). The greatest therapeutic effect is achieved if, after drawing conflicts, participants first create images of themselves and the disease in plasticine, maintaining the color in accordance with the initial choice in the drawing, and then repeat these the same images in white clay. This order facilitates the clarification and transformation of the traumatic situation.2. Verbalization stage If this exercise is performed under the guidance of a psychologist (art therapist) in a group, the participants sit in a circle and, if desired, showtheir drawings and simulated images tell not so much about the content and causes of the conflict, but about the emotional side and behavior in a conflict situation. Other participants can ask questions, for example: - How did you feel in the process of drawing the trajectory of the conflict and modeling the characters? - How do you feel now? - Did you clarify for yourself how the conflict developed and was it resolved? - Has your understanding of the causes and consequences of the conflict situation changed? — How do you now see your own role and the role of your opponent in initiating the conflict? What experience were you able to gain in the process of visual work?3. Final stage The specialist invites the session participants to make the desired changes to their work, transform visual images or do with their drawings as they would like. Often there is a need to symbolically “deal with” the conflict: tear, crumple, destroy the drawing. This behavior may indicate acute emotional pain, suffering or anger. Sometimes - about the symbolic recognition of the author to himself, awareness of his own role as an “initiator of conflict”, which was previously consciously or unconsciously repressed, replaced by some form of psychological defense. Accepting such revelations is a resourceful start for personal growth. Exercise “Drawings of Emotions and Feelings.” Purpose and priority goals: • identifying the emotional background, actualized emotions, feelings, experiences; in a situation of acute stress - prompt assistance, response to traumatic experiences, emotional release; • “working through” emotions and feelings, including suppressed ones; • psychoprophylaxis of negative emotional experiences and their manifestations; emotional switching;• promoting the development of spontaneity, reflection, the manifestation of true feelings;• harmonization of the emotional state as a potential for overcoming destructive personality changes and personal growth;• development of creativity. Materials: sheets of white paper of different formats, simple pencils, brushes, watercolors, bowls with water. Mood stage Participants are asked to write down on a piece of paper the name of the emotions, feelings, experiences, states that they were able to remember. Next, from this list, you are asked to select the strongest feeling, experience that causes an emotional response at the moment. When offering instructions, it is important to list the various terms that are used to describe a wide range of emotional manifestations, so that when compiling a list, participants do not experience intellectual difficulties in distinguishing between concepts. Stage of individual work (theme development)Instructions• Using a simple pencil on a sheet of A3 or A4 paper, make a contour drawing of the emotion (feelings, experiences, states) chosen for “working through”.• Perform the following manipulations with the paper (paying attention to thoughts and feelings that arise in the process of work): crumple a sheet of paper with the contours of the drawing, then lower it into water for a while, straighten it, lay it out on the table and only then color the image drawn with a simple pencil.• Come up with a name and a story that you could tell your "picture". Try to build dialogues between the depicted objects or parts of the picture.VI. Transferring various objects and “emotions” in a circle, followed by pronouncing sensations. At this stage, techniques for working with mandalas or cards are used. Exercise “Creating a sand mandala” Techniques: sand therapy, art therapy (author A.I. Kopytin). Goals: harmonization of internal state; development of communication skills; relieving internal tension; finding an internal resource. Materials: Painted sand, large cardboard circles, rhinestones, PVA glue, hairspray, napkins, spoons. Relaxation music plays during the work. The psychologist invites the children to create a beautiful sand circle. To do this: 1. Children spread PVA glue on a circle. 2. Using spoons, pour the colored sand onto the circle. 3. If desired, decorate with rhinestones or beads; 4.The psychologist varnishes circle 5. At the end of the work, the psychologist asks the children to name their magic circles, talk about their work, and share their feelings. Contemplation of your works. Exercise “Creating a mandala using natural and waste materials.” The actions are reminiscent of games with mosaics. You will need circles of different sizes made of thick packaging cardboard, PVA glue and various waste materials: pebbles, shells, beads, coins, buttons, bones, seeds, beads, etc. Children really like this kind of work. PVA glue should be applied in a thick layer to the surface of the cardboard, then lay out a pattern of small objects. When dry, the glue becomes transparent, so the aesthetics of the work are not affected. This should be explained to anxious children, since the unaesthetic appearance of the work can upset them and deprive them of the desire to continue further. It should be noted that this work can be done by children with special needs of psychophysical development. Exercise “Creating a mandala from salt” Salt is first painted in different colors with watercolors, and then poured onto cardboard coated with PVA glue, or onto clean cardboard. This technique is also reminiscent of the ritual creation of sand mandalas by Tibetan monks. It requires high concentration, silence, clarity in concentration and motor strength of movements, special regulation of breathing, which is useful for active children who have problems with self-regulation and self-control. Any of these sessions of creating a mandala can be completed with meditation to music. If the work is carried out in a group, the mandalas of all participants should be placed in a certain place for everyone to see, so that everyone can see the drawings of other group members, see how diverse the inner worlds of others are, how they differ from each other. Exercise “Spiritual Maps”. Purpose: awareness of emotions, creation of a resource state. Materials: deck of playing cards, magazines, glue, beads, feathers, glass beads, pieces of fabric, thread, etc. Instructions: create a deck of your spiritual cards. To do this, you will need as many cards as you find convenient (21,36 or 50). Fifty cards make the deck more complete. Follow these steps: on ten of the cards, write your favorite parable or prayer. On another ten, write ten aphorisms that are close to you, on the next ten, write your favorite poems or haiku, on the next ten, list wise thoughts, advice from spiritual people, on the last ten, write quotes from famous works, films that evoke sublime feelings in you. For each card choose your image from magazine pictures or draw it. Make, choose your own house of cards for the day: a box, a bag, a casket. Return to these cards whenever you feel that you need support or need spiritual uplift. Maps, as you know, can be used in different ways. Pull out a random card and see how it relates to your situation. Formulate your problem and draw two cards: the answer to the question “What can I change?”, the answer to the question “What should I accept for the future?” Shuffle the cards and choose a card with advice for the day. The created cards and mandalas are passed on to each other, discussed, and stored as talismans. VII. Drawing current bodily sensations, the mood of the participants, followed by a discussion of emerging associations and the possible addition of drawings with new elements by other participants. Exercise “Group drawing in a circle” Goal: awareness of emotions, response. Materials: paper, paints. On a sheet of paper you need to draw a simple picture or just color spots, and then pass the baton to the next participant to continue the drawing. Ultimately, each drawing is returned to its original author. After completing this assignment, the original concept is discussed. Participants talk about their feelings. Collective drawings can be attached to the wall: a kind of exhibition is created, which for some time will remind the group of collective work in a “foreign space”. This technique can revealstrong contradictions in the group process, cause aggressive feelings, resentment. Therefore, the art therapist should warn participants to treat each other’s work with care. It is better to paint with “magic paints”: first, the group members make a dough from flour, salt, sunflower oil, PVA glue, then add gouache to it. With such paints, created with your own hands, it is pleasant to draw, express yourself and your feelings, leave a mark... Recipe for “magic paints”: mix 2 tablespoons of flour with 1.5 tablespoons of salt, add 1/3 teaspoon of sunflower oil and a little - a little water. Knead. Gradually, the dough needs to be diluted with water so that it becomes runny, like thick pancake batter. Then add 2 tablespoons of PVA glue. If the dough has thickened too much, you can add water. Next, gouache of the color that needs to be created is added to the dough. The group members agree among themselves, each undertakes to make their own color. For painting, paints become generic. It is best to paint on rough cardboard. During the painting process, the paints are not smeared, but rather poured onto the cardboard. In this way, volume is created. The exercise “Creating a Clay World” is also used here. Purpose: responding to emotions. Materials: clay, water, paper. Each group member receives a large lump of clay. Groups are divided into subgroups of 5 - 8 people each. The exercise can be accompanied by a pleasant melody to create a soft, relaxed atmosphere. You are one of five or eight people creating the world. Close your eyes and imagine that clay is a raw material from which you can make anything you want. With your eyes closed, work with the clay and let your fingers express your thoughts and feelings. When you have sculpted the sculpture, place it on the table along with the other sculptures sculpted in your subgroup. Work with your open-eyed subgroup members to structure a whole world out of appropriate parts. If you have feelings about the “co-authors” during the exercise, voice them or express them in clay. In conclusion, share your impressions with other subgroups. Exercise “Working with creative garbage.” Goal: leveling negative emotions, filling with resources. Materials: To complete it, you will need everything that once accumulated in drawers and mezzanines: pieces of paper, fabric, ribbons, buttons, old postcards, etc. - that is, everything that was a pity to throw away right away. Instructions: Prepare and lay out this material in front of you and select from everything that is associated with past experiences that it’s time to let go of - grievances against someone, insecurities, fears, disappointments, etc. Now you should put together a general composition from everything selected. You can do this with glue or simply by laying everything out next to each other. Don’t rush yourself, tune in to creativity and let go of all thoughts - do what you want, without trying to analyze anything for now. When completing a task, you can turn on pleasant relaxing music. When the work is completed, the next stage will be analysis - look at the entire composition, perhaps in the process of creating it you received some important answers. Thank each of these symbols for the experience they represent and what you have learned from it. Say thank you again to the people and situations from your past, everything valuable remains with you - it is intangible, and say goodbye to your work and, if possible, burn it. This exercise will give you back a lot of strength and start the process of personal growth. Exercise “Poster”. Goal: getting rid of the fear of illness. Materials: To complete this exercise you need to take A4 paper - 1 sheet and A3 - 1 sheet, visual materials: pencils or paints, as well as office glue. Instructions: It is difficult to imagine a person who would not know what fear is. We are afraid of heights, mice, spiders, dogs, the unknown, loneliness, violence, etc. etc. What are we not afraid of? Have you ever wondered what your fear, your personal, most important fear looks like?What color, shape or texture can it be? Surely he lives deep inside you, and you have never seen him. By doing the following exercise, you can get to know your fear, and maybe even look into its eyes. Sitting at the table, take a position that is comfortable for you. Close your eyes and relax. Imagine that you are a famous actress or actor. On the theater stage you will play the role of “Fear”. Think about what a mask for this role might look like and draw it on an A4 sheet of paper. Is the mask ready? Now you need to separate it from the background or simply tear off the edges. Place the finished mask on a large sheet of paper (A3) and come up with a poster for your performance. The text can be anything from one word to a description of the content, the main thing is to express everything that is associated with the concepts of “fear” and “theater”. So, let's look at the mask: - Your mask represents someone who is afraid. You are afraid of being a victim of circumstances. You are ready for the fact that you may be deceived or robbed at the market, that your friend will take your boyfriend away, that the carousel in the amusement park will collapse under you, that you will get into a car accident or meet a maniac around the corner. Sometimes you even have terrible dreams and wake up in the middle of the night in horror. But it’s unlikely that anyone will know about this, because in the company you are the most cheerful and perky person. - Your mask represents someone who scares. You are afraid of being aggressive, angry, or lashing out at your loved ones at the wrong time. Despite the fact that in life you do not always hold back and sometimes express your negative attitude, you want more. Well, just tear and throw. And if the accumulated aggression does not find a way out and is not directed at others, then it goes inside, i.e. to myself. And then depression, apathy and melancholy are commonplace for you. - Your mask depicts a mask like Mr. X's. You are afraid of exposure. - Your mask consists of two huge eyes. This is the fear of the “all-seeing eye”, total control scares you. - Your mask consists of fragments like a patchwork quilt, which means that uncertainty scares you. - You drew your mask with a simple pencil and it is almost invisible on a white sheet of paper. You feel like an empty place and are very afraid of getting lost. - Only one half of your mask is depicted. You are not happy with your appearance and are afraid of loneliness. - Instead of a mask, you portrayed an alien. Perhaps you feel that you are strange, not like everyone else, and therefore you are afraid of being rejected. - Your mask smiles. You are afraid to admit your feelings even to yourself. The most important step in performing this technique is to show your work to the “spectators”. It is very important to listen to the opinions of people close to you, even if you don’t like them. After all, our fears are just fantasies and, moreover, not as scary as you thought before. I’ll tell you a secret, it doesn’t really matter what’s encrypted in your image, the main thing is that you saw your fear and now you can do whatever you want with it. You can laugh at it, throw it away, or give it to someone. Exercise “Sweeping away a disease.” Goal: positive attitude, launching internal resources. Materials: pencils or paints, paper, pen. Instructions: Imagine how you sweep the pain out of a sore spot with a broom. Now take a piece of paper, a pencil and draw yourself with a broom in your hands, sweeping away the garbage of pain and illness. Compose the text of an appeal to the sick organ. Exercise “Speaking out sadness” Goal: positive attitude, launching internal resources. Materials: Three sheets of paper, watercolor, brush. Instructions: Take three sheets of white paper, watercolor paints and a brush. On the first sheet, dip your brush in black paint and place a few black spots, shaking the brush. Try to see some kind of image in these spots; to do this, connect them together or slightly correct them. Your imagination itself will tell you the right solution. Then take a second sheet of paper, gray paint and do the same. Look carefully at what you got, what it looks like when you connected the spots together. On the third sheet, repeat the samethe same thing you did on the first and second sheets, but now make spots with bright yellow, green and red paints. Try to reveal some image here too, connecting or correcting some spots. Look at your last drawing for about 5 minutes, feel that you have gained strength. Exercise “Spring cleaning” Goal. “Inventory” of life experience. Materials. 3 cardboard boxes for each participant (for example, for the “safe” - shoe boxes, for “garbage” - cardboard popcorn cups, etc.). You can also use paper bags or envelopes (but boxes make a stronger impression). Sheets of A6 paper, any paper (for packing boxes). Pens, felt-tip pens, scissors, tape. A large plastic garbage bag (for collecting participants’ “garbage” boxes) .Instructions. From time to time, every home undergoes a deep cleaning. This means that all things are sorted out in it. They determine their value, fix something, throw something away, and send something else to the barn or attic - somehow it’s a pity to throw it away, but it’s no longer needed in the house. Usually, after such cleaning, the house becomes freer, more beautiful, and more joyful. Now you will also do a general cleaning, but not in the house, but in your own soul. A lot of things have accumulated in it - this is something very, very valuable, this is also something broken, cracked, and it remains in the same place in your soul, scratching you every time you accidentally touch it. This is something that is completely unnecessary, but there is still no time to think about it, and so it lies right in the center of your soul. So the time has come. Now take one box and write on it in large letters: “Garbage.” Then take another box and write "Attic" on it, and then take a third box and write "Safe" on it. "Junk" is something you don't really need and you're ready to get rid of it. "Safe" is something that is very valuable to you, and you want to save it. “The attic” is something that you don’t really need, but somehow you don’t dare get rid of it for good. Now take pieces of paper and remember the most different moments and events of your life, people, objects, places that for some reason are unpleasant, embarrassing, offensive or even painful for you to remember - the more you remember, the better. Mark them on pieces of paper with drawings and color spots. And then decide which box you want to put them in. Distribute these pieces of paper. Now remember what is most precious to you - moments and events of your life, people, objects, places. Draw them on pieces of paper and distribute them into boxes. Maybe in a safe, or maybe while you were thinking, your attitude towards this has changed, and you will transfer some value to another box. Now think about what is not really necessary in your life, but also It’s a pity to throw it out of life, from memory, from the soul. Draw it on pieces of paper and place it in the attic. But maybe you will change your mind and then put it in some other boxes. Now you will need to seal the boxes. Cover them with a sheet of paper or a lid and seal them with tape. But first, think about whether everything is in place, because you won’t be able to move it. For example, we will throw out a box of garbage, but the “attic” box will have to be sent to the furthest corner of the house or actually taken to the sheds or attic. So think again. Seal the boxes with lids, paper and tape. Stand up and throw your trash boxes in this trash bag here. Now I seal it with tape. After class I'll throw it in the trash. Take the rest of the boxes home and put each one in its place. Discussion. Share your impressions of performing the exercise, what is significant in this exercise? Each of us carries in our souls a lot of valuable and a lot of unnecessary things. And it is very important sometimes to make up your mind and throw away everything unnecessary that interferes and re-feel the value of what is important. Just first you need to think carefully to distinguish one from the other.VIII. Psychosculpting. When using this technique, one of the participants describes an unpleasant situation with a gradual, increasinglyclear awareness of your emotions, experiences that correlate with parts of the body (“chest pain”). The problem applicant then selects the perpetrators of each condition and gives them instructions on how to behave in the traumatic situation. The next step is to play out the situation, exchange impressions, thoughts, feelings, and experiences. Sometimes the playback of the situation is repeated, alternating with a directed discussion. Exercise “Sculptor”. Goal: awareness and expression of emotions. Instructions: now break into threes and distribute roles - one of you will be the sculptor, the other will be the body of the sculptor, the third will be the soul of the sculptor. The sculptor “sculpts” a sculpture of himself, trying to depict the interaction of soul and body. When the sculpture is ready, it begins to dance, the sculptor can give the command “Freeze” and make changes to the already created sculpture until he is satisfied with the “masterpiece”. Exercise “Castal objects”. Goal: awareness of emotions, filling with resources. Materials: various small objects (about 100 pieces) Instructions: Choose one object each, symbolizing: Illness Opportunities Exit from illness or result. Try to arrange them so that they make up some kind of complete composition. What feelings? Which of these objects evokes the most pleasant feelings, and which less pleasant? What does each item symbolize? Discussion. Under this program, work was carried out with a group of disabled children and children at risk aged 10-15 years, suffering from diabetes, bronchial asthma, and cardiovascular diseases. Depending on the composition of the group, the exercises were modified and replaced. 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