Triángulo dramático de Karpman

El triángulo dramático de Karpman es un modelo social de interacción humana propuesto por el psiquiatra de San Francisco Stephen B. Karpman en 1968. El triángulo representa un tipo de interacción destructiva que puede ocurrir entre personas en conflicto. ^{[ 1 ]} El modelo del triángulo dramático es una herramienta utilizada en psicoterapia, específicamente en el análisis transaccional . Los actores del triángulo son perseguidores , víctimas y rescatadores.

Karpman describió cómo, en algunos casos, estos roles no se asumían con honestidad para resolver el problema planteado, sino que los actores los utilizaban con fluidez y los alternaban para alcanzar objetivos y propósitos inconscientes . El resultado era que los actores se sentían justificados y afianzados en su postura, pero a menudo el problema principal apenas cambiaba, y otros problemas más fundamentales que originaban la situación permanecían sin resolver.

Usar

A través del uso popular y el trabajo de Stephen Karpman y otros, el triángulo de Karpman se ha adaptado para su uso en el análisis estructural y el análisis transaccional . ^{[ 2 ]}

Teoría

Karpman utilizó triángulos para representar transacciones relacionales conflictivas o intensamente dramáticas. ^{[ 1 ]} El Triángulo Dramático de Karpman modela la conexión entre la responsabilidad personal y el poder en los conflictos, y los roles destructivos y cambiantes que desempeñan las personas. ^{[ 3 ]} Definió tres roles en el conflicto: Perseguidor, Salvador (las posiciones de superioridad) y Víctima (la posición de inferioridad). Karpman colocó estos tres roles en un triángulo invertido y se refirió a ellos como los tres aspectos o caras del drama. ^{[ 1 ]}

The Victim: The Victim in this model is not intended to represent an actual victim, but rather someone feeling or acting like one.^[1] The Victim seeks to convince him or herself and others that he or she cannot do anything, nothing can be done, all attempts are futile, despite trying hard. One payoff for this stance is avoiding real change or acknowledgement of one's true feelings, which may bring anxiety and risk, while feeling one is doing all one can to escape it. As such, the Victim's stance is "Poor me!" The Victim feels persecuted, oppressed, helpless, hopeless, powerless, ashamed, and seems unable to make decisions, solve problems, take pleasure in life or achieve insight. The Victim will remain with a Persecutor or, if not being persecuted, will set someone else up in the role of Persecutor. The Victim will also seek help, creating one or more Rescuers to save the day, who will in reality perpetuate the Victim's negative feelings and leave the situation broadly unchanged.
The Rescuer: The Rescuer's line is "Let me help you." A classic enabler, the Rescuer feels guilty if they do not go to the rescue, and ultimately becomes angry (and becomes a Persecutor) as their help fails to achieve change. Yet the Rescuer's rescuing has negative effects: it keeps the Victim dependent and doesn't allow the Victim permission to fail and experience the consequences of their choices. The rewards derived from this rescue role are that the focus is taken away from the Rescuer, who can also feel good for having tried, and justified in their negative feelings (to the other actor/s) upon failing. When one focuses one's energy on another, it enables one to ignore one's own anxiety and troubles. This rescue role is also pivotal because one's actual primary interest is really an avoidance of one's own problems disguised as concern for the Victim's needs.
The Persecutor: (a.k.a. Villain) The Persecutor insists, "It's all your fault." The Persecutor is controlling, blaming, critical, oppressive, angry, authoritarian, rigid and superior. But if blamed in turn, the Persecutor may become defensive and may switch roles to become a Victim if attacked forcefully by the Rescuer and/or Victim, in which case the Victim may also switch roles to become a Persecutor.

Inicialmente, se forma un triángulo dramático cuando una persona asume el rol de víctima o perseguidor. Esta persona siente entonces la necesidad de involucrar a otros actores en el conflicto. Como suele suceder, se anima a un salvador a entrar en la situación. ^{[ 4 ]} Estos actores incorporados asumen roles propios que no son estáticos, por lo que pueden darse diversos escenarios. La víctima podría volverse contra el salvador, por ejemplo, mientras que el salvador pasa entonces a perseguir.

La razón por la que la situación persiste es que cada participante ve satisfechas sus necesidades y deseos psicológicos (frecuentemente inconscientes ) sin tener que reconocer la disfunción o el daño generalizado causado en la situación en su conjunto. Cada participante actúa en función de sus propias necesidades egoístas , en lugar de actuar de manera genuinamente responsable o altruista . Cualquier personaje podría "comportarse normalmente como una víctima lastimera; ahora está claro que uno puede asumir el rol de perseguidor siempre que sea 'accidental' y se disculpe por ello". ^[⁴^]

Las motivaciones del rescatador son las menos evidentes. En términos del triángulo, el rescatador tiene un motivo mixto u oculto y se beneficia egoístamente de ser "quien rescata". Su motivación aparente es resolver el problema y se esfuerza mucho por solucionarlo, pero también tiene un motivo oculto: no tener éxito o tenerlo de una manera que le beneficie. Por ejemplo, puede aumentar su autoestima , obtener el respeto que merece o disfrutar de que alguien dependa de él o ella y actúe de una manera que aparentemente busca ayudar, pero que en el fondo manipula a la víctima para seguir obteniendo beneficios.

La relación entre la víctima y el rescatador puede ser de codependencia . El rescatador mantiene a la víctima en una situación de dependencia al fomentar su victimismo. La víctima ve satisfechas sus necesidades al ser atendida por el rescatador.

Los participantes suelen tener un rol principal o habitual (víctima, salvador, perseguidor) al entrar en los triángulos dramáticos. Primero aprenden sus roles habituales en sus respectivas familias de origen . Aunque cada participante tiene un rol con el que se identifica más, una vez en el triángulo, rotan por las tres posiciones. ^{[ 5 ]}

Cada triángulo tiene una "recompensa" para quienes lo juegan. La "antítesis" de un triángulo dramático radica en descubrir cómo privar a los actores de su recompensa. ^{[ 1 ]}

Contexto histórico

movimiento de terapia familiar

After World War II, therapists observed that while many battle-torn veteran patients readjusted well after returning to their families, some patients did not; some even regressed when they returned to their home environment. Researchers felt that they needed an explanation for this and began to explore the dynamics of family life – and thus began the family therapy movement. Prior to this time, psychiatrists and psychoanalysts focused on the patient's already-developed psyche and downplayed outside detractors. Intrinsic factors were addressed and extrinsic reactions were considered as emanating from forces within the person.^[1]

Transactions analysis

In the 1950s, Eric Berne developed transactional analysis, a method for studying interactions between individuals. This approach was profoundly different from that of Freud. While Freud relied on asking patients about themselves, Berne felt that a therapist could learn by observing what was communicated (words, body language, facial expressions) in a transaction. So instead of directly asking the patient questions, Berne would frequently observe the patient in a group setting, noting all of the transactions that occurred between the patient and other individuals.^[6]

Triangles/triangulation

The theory of triangulation was originally published in 1966 by Murray Bowen as one of eight parts of Bowen's family systems theory.^[1] Murray Bowen, a pioneer in family systems theory, began his early work with schizophrenics at the Menninger Clinic, from 1946 to 1954. Triangulation is the "process whereby a two-party relationship that is experiencing tension will naturally involve third parties to reduce tension".^[7] Simply put, when people find themselves in conflict with another person, they will reach out to a third person. The resulting triangle is more comfortable, as it can hold much more tension, because the tension is being shifted around three people instead of two.^[1]

Bowen studied the dyad of the mother and her schizophrenic child while he had them both living in a research unit at the Menninger clinic. Bowen then moved to the National Institute of Mental Health (NIMH), where he resided from 1954 to 1959. At the NIMH Bowen extended his hypothesis to include the father-mother-childtriad. Bowen considered differentiation and triangles the crux of his theory, Bowen Family Systems Theory. Bowen intentionally used the word triangle rather than triad. In Bowen Family Systems Theory, the triangle is an essential part of the relationship.

Couples left to their own resources oscillate between closeness and distance. Two people having this imbalance often have difficulty resolving it by themselves. To stabilize the relationship, the couple often seek the aid of a third party to help re-establish closeness. A triangle is the smallest possible relationship system that can restore balance in a time of stress. The third person assumes an outside position. In periods of stress, the outside position is the most comfortable and desired position. The inside position is plagued by anxiety, along with its emotional closeness. The outsider serves to preserve the inside couple's relationship. Bowen noted that not all triangles are constructive – some are destructive.^[7]

Pathological/perverse triangles

In 1968, Nathan Ackerman conceptualized a destructive triangle. Ackerman stated "we observe certain constellations of family interactions which we have epitomized as the pattern of family interdependence, roles those of destroyer or persecutor, the victim of the scapegoating attack, and the family healer or the family doctor." Ackerman also recognized the pattern of attack, defense, and counterattack, as shifting roles.^[8]

Karpman triangle and Eric Berne

In 1968, Stephen Karpman, who had an interest in acting and was a member of the Screen Actors Guild, chose "drama triangle" rather than "conflict triangle" as, here, the Victim in his model is not intended to represent an actual victim, but rather someone feeling or acting like one.^[1] He first published his theory in an article entitled "Fairy Tales and Script Drama Analysis". His article, in part, examined the fairy tale "Little Red Riding Hood" to illustrate its points. Karpman was, at the time, a recent graduate of Duke University School of Medicine and was doing post post-graduate studies under Berne.^[9] Berne, who founded the field of transactional analysis, encouraged Karpman to publish what Berne referred to as "Karpman's triangle". Karpman's article was published in 1968. In 1972, Karpman received the Eric Berne Memorial Scientific Award for the work.

Transactional analysis

Eric Berne, a Canadian-born psychiatrist, created the theory of transactional analysis, in the middle of the 20th century, as a way of explaining human behavior. Berne's theory of transactional analysis was based on the ideas of Freud but was distinctly different. Freudian psychotherapists focused on talk therapy as a way of gaining insight to their patients' personalities. Berne believed that insight could be better discovered by analyzing patients' social transactions.^[10]

Games in transactional analysis refers to a series of transactions that is complementary (reciprocal), ulterior, and proceeds towards a predictable outcome. In this context, the Karpman Drama Triangle is a "game".

Games are often characterized by a switch in roles of players towards the end. The number of players may vary. Games in this sense are devices used (often unconsciously) by people to create a circumstance where they can justifiably feel certain resulting feelings (such as anger or superiority) or justifiably take or avoid taking certain actions where their own inner wishes differ from societal expectations. They are always a substitute for a more genuine and full adult emotion and response which would be more appropriate. Three quantitative variables are often useful to consider for games:

Flexibility: "The ability of the players to change the currency of the game (that is, the tools they use to play it). 'Some games...can be played properly with only one kind of currency, while others, such as exhibitionistic games, are more flexible", so that the focus of power may shift from words, to money, to parts of the body.^[11]

Tenacity: "Some people give up their games easily, others are more persistent", referring to the way people stick to their games and their resistance to breaking away from them.

Intensity: "Some people play their games in a relaxed way, others are more tense and aggressive. Games so played are known as easy and hard games, respectively".^[11]

The consequences of games may vary from small paybacks to paybacks built up over a long period to a major level. Based on the degree of acceptability and potential harm, games are classified into three categories, representing first degree games, second degree games, and third degree games:

socially acceptable,
undesirable but not irreversibly damaging
may result in drastic harm.^[11]

The Karpman triangle was an adaptation of a model that was originally conceived to analyze the play-action pass and the draw play in American football and later adapted as a way to analyze movie scripts. Karpman is reported to have doodled thirty or more diagram types before settling on the triangle. Karpman credits the movie Valley of the Dolls as being a testbed for refining the model into what Berne coined as the Karpman Drama Triangle.^[2]

Karpman now has many variables of the Karpman triangle in his fully developed theory, besides role switches. These include space switches (private-public, open-closed, near-far) which precede, cause, or follow role switches, and script velocity (number of role switches in a given unit of time).^[4] These include the Question Mark triangle, False Perception triangle, Double Bind triangle, The Indecision triangle, the Vicious Cycle triangle, Trapping triangle, Escape triangle, Triangles of Oppression, and Triangles of Liberation, Switching in the triangle, and the Alcoholic Family triangle.^[12]

While transactional analysis is the method for studying interactions between individuals,^[13] one researcher postulates that drama-based leaders can instill an organizational culture of drama. Persecutors are more likely to be in leadership positions and a persecutor culture goes hand in hand with cutthroat competition, fear, blaming, manipulation, high turnover and an increased risk of lawsuits. There are also victim cultures which can lead to low morale and low engagement as well as an avoidance of conflict, and rescuer cultures which can be characterized as having a high dependence on the leader, low initiative and low innovation.^[14]

Therapeutic models

The Winner's Triangle was published by Acey Choy in 1990 as a therapeutic model for showing patients how to alter social transactions when entering a triangle at any of the three entry points. Choy recommends that anyone feeling like a victim think more in terms of being vulnerable and caring, that anyone cast as a persecutor adopt an assertive posture, and anyone recruited to be a rescuer should react by being "caring".^[15]

Vulnerable – a victim should be encouraged to accept their vulnerability, problem solve, and be more self-aware.
Assertive – a persecutor should be encouraged to ask for what they want, be assertive, and cultivate self-compassion.^[16]
Caring – a rescuer should be encouraged to show concern and be caring, but not over-reach and problem solve for others.

The Power of TED*, first published in 2009, recommends that the "victim" adopt the alternative role of creator, view the persecutor as a challenger, and enlist a coach instead of a rescuer.^[17]

Creator – victims are encouraged to be outcome-oriented as opposed to problem-oriented and take responsibility for choosing their response to life challenges. They should focus on resolving "dynamic tension" (the difference between current reality and the envisioned goal or outcome) by taking incremental steps toward the outcomes they are trying to achieve.
Challenger – a victim is encouraged to see a persecutor as a person (or situation) that forces the creator to clarify their needs, and focus on their learning and growth.
Coach – a rescuer should be encouraged to ask questions that are intended to help the individual to make informed choices. The key difference between a rescuer and a coach is that the coach sees the creator as capable of making choices and of solving their own problems. A coach asks questions that enable the creator to see the possibilities for positive action, and to focus on what they do want instead of what they don't want.^[1]

References

1 2 3 4 5 6 7 8 9 10Johnson, R. Skip. "Escaping Conflict and the Drama Triangle". BPDFamily.com. Retrieved June 10, 2015.
1 2Karpman, Stephen. "Eric Berne Memorial Scientific Award"(PDF). karpmandramatriangle.com. Retrieved June 10, 2015.
↑Murdoch, B.Ed., Edna. "The Karpman Drama Triangle". Coaching Supervision Academy. Archived from the original on June 11, 2015. Retrieved June 10, 2015.
1 2 3Berne, Eric (1973). What Do You Say After You Say Hello?. Bantam Books. pp. 186, 188, 307, 346. ISBN 9780553232677.
↑Forrest, SW, Lynne (26 June 2008). "The Three Faces of Victim — An Overview of the Drama Triangle". lynneforrest.com. Retrieved June 11, 2015.
↑Eric Berne Family. "Transactional Analysis". Eric Berne, M.D. Retrieved June 10, 2015.
1 2Rabstejnek, Carl V. "Family Systems & Murray Bowen Theory"(PDF). houd.info. Retrieved June 10, 2015.
↑Weeks, Gerald R.; L'Abate, Luciano (August 15, 2014). Paradoxical Psychotherapy: Theory & Practice With Individuals Couples & Families. Taylor & Francis. p. 47. ISBN 9781138009400.
↑Karpman MD, Stephen (1968). "Fairy tales and script drama analysis". Transactional Analysis Bulletin. 26 (7): 39–43.
↑"Transactional Analysis". disorders.org. Retrieved September 1, 2011.
1 2 3Berne, Eric (1996). Games People Play. New York: Ballantine Books. pp. 45, 57. ISBN 978-0345410030.
↑Karpman, Stephen B. "The New Drama Triangles USATAA/ITAA Conference Lecture"(PDF). karpmandramatriangle.com. Retrieved August 11, 2007.
↑Solomon Ph.D., Carol. "Transactional Analysis". Eric Berne, MD. University of California at San Francisco. Retrieved 3 January 2018.
↑Nate Regier (24 April 2017). Conflict without Casualties: A Field Guide for Leading with Compassionate Accountability. Berrett-Koehler Publishers. pp. 32–33. ISBN 978-1-5230-8262-9.
↑Choy, Acey (1990). "The Winner's Triangle". Transactional Analysis Journal. 20 (1): 40. doi:10.1177/036215379002000105.
↑ Neff, K. (2021) in Self-compassion: The proven power of being kind to yourself. London: Yellow Kite, an imprint of Hodder & Stoughton.
↑Emerald, David (2016). The Power of TED* (3rd ed.). Polaris Publishing. pp. 1–138. ISBN 978-09968718-0-8.