The document discusses the use of intuition, guided imagery, dreams, metaphors and storytelling in narrative therapy. It notes that these tools allow people to access deeper layers of meaning and structure in indirect and creative ways. The document advocates for using these narrative techniques to have creative dialogues that model open and permeable communication. By exploring dreams, contexts and creative re-imaginings in dialogue, it is possible to gain insights without relying on expert interpretations.

1. Narrative TA:
• intuition
• background images
• dreams
• guided imagery
• metaphors
• storytelling
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2. AT Narrativa:
• intuição
• imagens de fundo
• sonhos
• imaginação guiada
• metáforas
• narrativa
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3. Intuition
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4. Intuição
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5. Intuition and TA
• The Origins of TA : Intuition and ego-states
(Berne’s papers 1949-1962 Paul McCormic ed.)
• TA concepts as crystallizations of Berne’s (and
others) intuitions
• focussed on psychotherapy à motivations,
biography, limiting life plans, enacting drama
(early definition BERNE script = transference
drama)
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6. Intuição e AT
• As origens da AT: intuição e estados de ego
(Artigos de Berne 1949-1962 Paul McCormic ed.)
• Conceitos de AT como cristalização das intuições
de Berne (e outros)
• Focado em psicoterapia à motivações, biografia,
limitação dos planos de vida, atuação do drama
(definição BERNE script = drama transferência)
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7. Definition of intuition
• Berne, Eric 1949 (based on Aristotle)
“the way we know something without
knowing how we know, and often without
knowing in words, what we know”,
but we act as if we knew.
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8. Definição de Intuição
• Berne, Eric 1949 (baseado em Aristóteles)
“a forma como sabemos algo sem saber
como sabemos, e frequentemente sem
saber em palavras, o que sabemos”, mas
agimos como se soubéssemos.
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9. Evolutionary function of
intuition
Imagine an ancient human, drinking at a spring, is
confronted with a wolf:
Is it hungry, strong, aggressive etc? Am I strong,
energetic? How far is the next tree? Is it easy to
be climbed quickly? Would running or freezing
attract the wolf? etc.
There is no chance to compute all this
rationally, but by intuition, which leads directly
to action.
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10. Função Evolucionária da
Intuição
Imagine um humano antigo, bebendo em uma
fonte, é confrontado com um lobo:
Ele está faminto, forte, agressivo, etc.? Eu sou
forte, enérgico? Quão longe está a próxima
arvore? É fácil escalá-la rapidamente? Será que
correr ou ficar parado atrairia o lobo? Etc.
Não há qualquer chance de computar tudo isto
racionalmente, só por intuição, que leva
diretamente a ação.
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11. Evolution of intuition
Is intuition per se selfish? No!
Modern science: "Evolution is cooperation!"
But person has to be free to use intuition for
others. (No taboos or undetected desires!)
Is it possible to only refer to others? No!
It is ok to tell and live your own story, but in
a way also useful to others
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12. Evolução da intuição
É a intuição, por si só egoísta? Não!
Ciência moderna: “Evolução é cooperação!”
Mas a pessoa deve ser livre para usar a
intuição para os outros. (Sem tabus ou
desejos não detectados!)
É possível que só se refira aos outros? Não!
É ok contar e viver sua própria história, mas
de uma forma útil também para outros
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13. Broader perspectives
• Intuition is judgement about reality (Schmid1991).
• Intuition can be qualified or unqualified, can lead
or mislead.
• Professional intuition must be trained and must
become focussed according to what sphere is
relevant and for what professional purposes it is
needed.
• Different professionals should have different
masteries in intuition, because they have different
spheres of reality to deal with, different roles and
different responsibilities.
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14. Perspectivas mais amplas
• Intuição é um julgamento da realidade (Schmid1991).
• Intuição pode ser qualificada ou não qualificada, pode
conduzir ou enganar.
• Intuição profissional deve ser treinada e deve tornar-
se focada de acordo com qual esfera seja relevante e
quais propósitos profissionais sejam necessários
• Diferentes profissionais deve ter diferentes
habilidades na intuição, uma vez que tem que lidar
com diferentes esferas de realidade, diferentes
papeis e diferentes responsabilidades.
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15. Intuition of the Possible
" BERNE's intuitions meant perceptions of
represented archaic realities.
" JUNG's intuition meant also the anticipation
of possible realities: What could be real
instead of what is real already?
= perception of the potential.
" “Realize” means: perceive the possibility
and help to make it real.
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16. Intuição do Possível
" A intuição de BERNE significava percepções
das realidades arcaicas representadas
" A intuição de JUNG significava também a
antecipação de possíveis realidades: o que
poderia ser real ao invés do que e real?
= percepção do potencial
" “Perceber” significa: perceber a possibilidade
e ajudar a torná-la real.
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17. Typology of C.G.Jung
thinking
intuition of
the possible experiencing
valuing
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18. Typologia de C.G.Jung
pensar
Intuição do
possível experimentar
avaliar
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19. Berne’s limitations to intuition
1. Taboos = not being allowed to deal with
certain aspects of reality
2. Desires and fears = seduced or blocked or
driven by hidden motivations, we do not
dare face or admit.
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20. Limitações da intuição segundo
Berne
1. Tabus = não sendo permitido lidar com
alguns aspectos da realidade
2. Desejos e medos = seduzido ou bloqueado
ou impulsionado por motivações ocultas,
que não se atrevem a encarar ou admitir.
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21. More limitations (B. Schmid)
3. Fixations in habits (cultural, professional
and organizational)
4. Lack of competence and knowledge
5. Blocking experimental flow (initially not
knowing which models and approaches to
use)
6. Lack of tuning into each other's spirit
7. Lack of inspiring ideas and creative designs
for future realities
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22. Mais limitações (B. Schmid)
3. Fixações em hábitos (cultural, profissional e
organizacional)
4. Falta de competência e conhecimento
5. Bloqueio do fluxo experimental
(inicialmente sem saber quais os modelos e
abordagens usar)
6. Falta de sintonia com os espiritos dos outros
7. Falta de idéias inspiradoras e desenhos
criativos para realidades futuras
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23. Intuition  Science
Berne:
Scientific methods,
which offer more security, and
intuition,
which opens up more options,
are the
mutual basis for creative action.
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24. Intuição  Ciência
Berne:
Métodos científicos,
que oferecem mais segurança, e
intuição,
que abre mais possibilidades,
são
bases mutuas para a ação criativa.
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25. Background images
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26. Imagens de fundo
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27. Dialogue model of communication
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28. Dialogue model of communication
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29. Lifeplans are influenced by:
• nature of the individual
• talents and ambitions
• equipment and requests from family
• attitudes to life and lifestyles of the milieu
in which one was brought up
• formative experiences, often represented
by key events and inner images
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30. Planos de vida sao influenciados por:
• natureza do individuo
• talentos e ambicoes
• equipamentos e solicitacoes familiares
• atitudes para com a vida e estilos de vida
do meio em que se foi criado
• experiências de formação, muitas vezes
representado por eventos-chave e
imagens internas
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31. Lifeplans and stories
Not primarily scripts, but creative lifeplans
e.g. Fanita English’s lifeplan development:
Compare stories
1. childhood
2. adolescence
3. presence
Fanita: "Berne would have developed in the
Jungian direction."
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32. Planos de vida e historias
Não primariamente scripts, mas planos de
vida criativos
e.g. Fanita English’s desenvolvimento do
plano de vida:
Comparar historias
1. infancia
2. adolescenci
3. presente
Fanita: "Berne teria se desenvolvido na 32
direcao Jungiana."

33. Life is meaning
Humans are narrative beings.
Life is myth, is telling your story.
People are always oriented to what they
want to become,
telling you somehow, who they want to be
or are going to become
Empathy for the possible:
intuition for the possible future of the other
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34. Viver e significar
Humanos são seres narrativos.
Viver é mito, é contar a sua historia.
As pessoas são sempre orientadas aquilo que
querem se tornar, dizendo de alguma forma,
quem eles querem ser ou vão ser tornar.
Empatia para o possível:
Intuição para o possível futuro do outro
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35. Orientation in life illustrated by
inner images: e.g. Train conductor
Q: "When you were young, what were your images of what
you would do some day, professionally?"
A: Train conductor!
Q: "What images/scenes are related with this occupation
in your mind?"
A: 1. "Me and my engine - nobody knows it as I do!"
2. "My colleague and I - two comrades travel
around the world!"
3. "So many people, who trust me - I shall
guarantee them a safe trip!"
4. "Oriental Express - Many foreign countries.
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Great Uniform! I personally welcome all VIPs.”

36. Meaningful background images
People "adopt"/filter images from their life or
from stories, which represent experiences,
self-perception or tendencies of the soul.
By exploring those images and mirroring in
dialogue with others, we get a sense of the
personality, the myths and lifestyles, that
the soul is interested in and ingredients of
life situations, which fit.
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37. Meaningful background images
for profession and organization
1. For understanding and creating
meaningful professional situations and
one's professional career
2. Understanding one's perception of
organizational developments and
matching those with one's own
development
3. Monitoring, matching and dialoguing on
that
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38. Exercise: images referring to
matching individual and organization
1. Me past/ Me present/ Me future
2. Org past/Org present/Org future
Me
Organization
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39. Why work with background
images?
1. Humans are meaning-oriented and mythical!
2. You can touch the essence of people without
intimate information!
3. Reveals background drifts in processes and
relationships.
4. Very effective in connecting on many levels.
5. Permits relating to these spheres in a
professional world.
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40. Dreams, guided imagery,
metaphors and storytelling
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41. Circus
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42. Dreams, metaphors and storytelling
• are exempt from the laws of the real world,
• are surreal in character,
• open up a multi-layered field of meaning and
structure
• Professionals realize that they can create stories
and metaphors much better and more usefully than
they expect.
• This means using traditional ways of teaching.
• Indirect suggestions activate creative searches and
solutions.
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43. Dealing with dreaming, guided imagery
or storytelling as example for
dealing with creative realities
the way the dreamer deals with metaphorical
occurrences
For example:
for the way he deals with experiences and
dialogues in other contexts.
à dialogue using dreams, imagery and stories as
modelling for creative dialogue and for building
up a “permeable” creative, sensible
communication culture
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44. Creative dialogues around dreaming
Not dream interpretation in the first place, but
dealing with dream experiences and contexts
and creative dialogues.
i.e. exploration and visualization of
1. what is going on in the dream and
2. what is going on round about the dream, as
well as
3. the meanings the dreamer gives his dream
and
4. How it resonates in encounters with others.
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45. Narrative experimental dialogue
• accepted mixture of the dreamer's world of
experience and the dialogue partners' worlds of
association,
• creative experimentation with dream orchestration
and also alternative orchestrations,
• unbiased dialog as offers of possible meanings
without resorting to any kind of expert authority,
• experimenting with context references =
possible connections between elements of the
dream and other life stages.
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