The Karpman drama triangle is a social model of human interaction proposed by San Francisco psychiatrist Stephen B. Karpman in 1968. The triangle maps a type of destructive interaction that can occur among people in conflict. The drama triangle model is a tool used in psychotherapy, specifically transactional analysis. The triangle of actors in the drama are persecutors, victims, and rescuers. Karpman described how in some cases these roles were not undertaken in an honest manner to resolve the presenting problem, but rather were used fluidly and switched between by the actors in a way that achieved unconscious goals and agendas. The outcome in such cases was that the actors would be left feeling justified and entrenched, but there would often be little or no change to the presenting problem, and other more fundamental problems giving rise to the situation remaining unaddressed.
Use Through popular usage, and the work of Stephen Karpman and others, Karpman's triangle has been adapted for use in structural analysis and transactional analysis.
Theory Karpman used triangles to map conflicted or drama-intense relationship transactions. The Karpman Drama Triangle models the connection between personal responsibility and power in conflicts, and the destructive and shifting roles people play. He defined three roles in the conflict; Persecutor, Rescuer (the one up positions) and Victim (one down position). Karpman placed these three roles on an inverted triangle and referred to them as being the three aspects, or faces of drama.
The Victim: The Victim in this model is not intended to represent an actual victim, but rather someone feeling or acting like one. 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. Initially a drama triangle arises when a person takes on the role of a victim or persecutor. This person then feels the need to enlist other players into the conflict. As often happens, a rescuer is encouraged to enter the situation. These enlisted players take on roles of their own that are not static, and therefore various scenarios can occur. The victim might turn on the rescuer, for example, while the rescuer then switches to persecution. The reason that the situation persists is that each participant has their (frequently unconscious) psychological wishes/needs met without having to acknowledge the broader dysfunction or harm done in the situation as a whole. Each participant is acting upon their own selfish needs, rather than acting in a genuinely responsible or altruistic manner. Any character might "ordinarily come on like a plaintive victim; it is now clear that the one can switch into the role of Persecutor providing it is 'accidental' and the one apologizes for it". The motivations of the rescuer are the least obvious. In the terms of the triangle, the rescuer has a mixed or covert motive and benefits egoically in some way from being "the one who rescues". The rescuer has a surface motive of resolving the problem and appears to make great efforts to solve it, but also has a hidden motive to not succeed, or to succeed in a way in which he or she benefits. The rescuer may get a self-esteem boost, for example, or receive respected rescue status, or derive enjoyment by having someone depend on or trust him or her and act in a way that ostensibly seems to be trying to help, but at a deeper level plays upon the victim in order to continue getting a payoff. The relationship between the victim and the rescuer may be one of codependency. The rescuer keeps the victim dependent by encouraging their victimhood. The victim gets their needs met by being taken care of by the rescuer. Participants generally tend to have a primary or habitual role (victim, rescuer, persecutor) when they enter into drama triangles. Participants first learn their habitual roles in their respective families of origin. Even though participants each have a role with which they most identify, once on the triangle, participants rotate through all the three positions. Each triangle has a "payoff" for those playing it. The "antithesis" of a drama triangle lies in discovering how to deprive the actors of their payoff.
Historical context
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