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Out of a spontaneous outreach to a Ukrainian Gestalt colleague shortly before the Russian invasion of her country, there emerged a project aimed at professionally supporting Ukrainian colleagues: a regular, online process support group. This tremendous, unprecedented challenge of working with a group in an enduring war, as well as the interpersonal enrichment I gained, sparked my decision to write about the ongoing experience.

In this interview Susan Goodman, psychologist daughter of Paul Goodman, draws a personal picture of her relationship with her father, his ideas, and his legacy both inside and outside of Gestalt therapy. She provides us with a fascinating, first-hand insight into the cultural, social, and political life in the USA of the forties, fifties, and sixties to which the Goodman family substantially contributed. This intimate portrait of Goodman and his time gives us the opportunity to reassess some of the stereotypes about Paul Goodman.

Il presente contributo e frutto dell’interesse e della lunga esperienza clinica dell’autrice con i disturbi sessuali relazionali. Adottando la cornice epistemologia propria della psicoterapia della Gestalt, l’autrice ripercorre il suo modo di guardare alle sofferenze sessuali attraverso l’illustrazione di numerosi esempi clinici, focalizzando in primo luogo il fatto che si tratta di sofferenze relazionali anche quando e solo uno dei partner a sperimentare il disagio. Amendt-Lyon evidenzia, inoltre, come l’identita sessuale e la sessualita del terapeuta giochi un ruolo importante nel modo in cui, un professionista, affronta i temi sessuali in terapia e si relaziona ai pazienti. Infine, si sofferma a declinare il sostegno terapeutico per queste soffe- 1 La dott.ssa Ruth Westheimer e una scrittrice e una terapeuta sessuologa tedescoamericana che per prima divenne famosa negli USA nel 1980 per il suo radio-show, durante il quale dava suggerimenti sul "buon sesso soddisfacente". renze, sia specifico che non specifico, e gli interventi di supporto che comprendono diverse tecniche.

In their specific ways of being in the world, men and women, as therapists or patients, have been influenced by the interdependence of traditional gender roles in the particular society in which they live. This article explores relevant aspects of gender differences within the context of Gestalt therapy: transference and countertransference phenomena, male-female constellations and the choice of a therapist, forms of abuse, psychotherapeutic efficacy, disorders, and the central role of the dialogic I-Thou relationship. Case examples from clinical practice illuminate the theoretical considerations. The need for explicitly reflecting the specific effects of gender differences on the course of therapy is emphasized.

Aus einer relationalen Feldperspektive stelle ich als Gestalttherapeutin die Fallgeschichte einer Patientin dar, die an Tinnitus leidet. Ich begrunde meine Interventionspraxis sowohl auf dem theoretischen Fundament von Laura Perls Konzept von „Kontakt und Stutze“ als auch auf dem Konzept der „schopferischen Anpassung in einem schwierigen Feld“ von F. Perls, Hefferline und Goodman, das die dynamischen Wechselbeziehungen der psychischen, soziokulturellen und physischen Faktoren im Feld erfasst. Traumarbeit, ZweiSessel-Dialoge und Inszenierung zahlen zu den praktizierten psychotherapeutischen Interventionen. Schlusselworter: Tinnitus; therapeutische Beziehung; Kontakt und Stutze; schopferische Anpassung; Psychosomatik; Gegenubertragung

A case study of Gestalt therapy with a patient suffering from tinnitus is presented from a relational field perspective. The author theoretically bases her practical interventions on Laura Perls' concept of contact and support and Perls, Hefferline and Goodman's concept of creative adjustment in a difficult field, which includes the dynamic interrelations of psychological, socio-cultural, and physical factors in the field. Dream work, two-chair dialogues, and enactment are among the therapeutic interventions selected.

The development and theoretical foundation of the aesthetic and creative dimensions of Gestalt therapy are presented. Special consideration is given to the reflection of the theoretical and practical significance of art and creativity for the founders of Gestalt Therapy, in particular Laura Perls. Contributions from the “pioneers” in this field in the United States are discussed. A number of principles suited for a timely appreciation and practice of art and creative process in Gestalt therapy are suggested.

Die Absicht dieses Artikels ist es gewesen, die fruchtbare Wechselbeziehung zwischen Theorie und Praxis anhand denkwurdiger Augenblicke aus Fallstudien beispielhaft aufzuzeigen. Sich in die Vertrautheit Routine gewordener Interventionen oder allzu etablierter Ubungen fallen zu lassen, verleiht Gestalttherapeuten eine Pseudo-Sicherheit und ein falsches Selbstvertrauen. Dies mag in Wirklichkeit Unsicherheit bemanteln oder die Therapeuten vor der Erkenntnis schutzen, dass sie in ihrer Profession stagnieren. Der Anspruch, dauernd neue Experimente und neue Blickwinkel in der taglichen therapeutischen Arbeit aus dem Armel zu schutteln, ist naturgemas herausfordernd, riskant und anstrengend. Doch genau diese Risiken und Anstrengungen sind vonnoten, wollen wir tiefe Befriedigung und das Hochgefuhl erleben, das aus einem solchen Engagement resultiert. Um zu einer guten Gestalt zu finden, sind wir am besten mit einer soliden Theorie beraten, auf deren Grundlage wir praktizieren, und umgekehrt: mit einer soliden Praxis, von der wir unsere Theorie ableiten! Dies fuhrt mich zum Appell an die Kollegen, sich von den einzelnen Lebensgeschichten ihrer Patientinnen faszinieren und Leidenschaft in ihrer professionellen Arbeit walten zu lassen. Es ist wohl kaum moglich, diesem Anspruch in jeder einzelnen Therapiestunde gerecht zu werden. Nichtsdestotrotz begleiten mich derlei Gedanken als stille, hilfreiche Signalgeber durch den Tag und lassen mich reichhaltigere Befriedigung aus meiner Arbeit schopfen. Mich dunkt, ich kann mich dadurch besser auf die Bedurfnisse der Einzelpersonen, Paare und Gruppen konzentrieren, die meine Praxis aufsuchen.

Merely encouraging play and artistic production as a therapist, or working with a patient who exhibits exceptional artistic talents, does not adequately define creativity within the therapeutic relationship. A more appropriate definition of this type of creativity must include interpersonal aspects, such as the daring, creative interaction, or that which happens in the no man’s land between us. This implies venturing beyond self-expression as an end in itself and entering the dynamics of the fertile complexity within the therapeutic relationship. Creative interchange can best be encouraged in Gestalt therapy when those involved in the therapeutic process are productively curious and willing to experiment; as a consequence, the chances for optimal results with the givens of the situation are much higher. Drawing from my experience as a therapist, I have realized that achieving this goal implies the use of precisely those individually designed experiments that both take the uniqueness of each patient into account and require the therapist to dare to take creative leaps. My aim is to make a passionate plea for the spontaneous development of “custom-made” interventions that risk articulating something novel, unexpected, or outright eccentric, be it in individual, couples, or group therapy. Only these unique “experiments”, born out of the process of the therapeutic relationship, can stimulate the liveliness, innovation, and meaningfulness necessary to call them creative in the Gestalt therapeutic sense of the word.