The Karpman Drama Triangle is a social model that refers to most real-life situations. This is a subconcious game played by the three parties (Persecutor, Victim and Rescuer) that gives all parties a subconcious gain of sorts.

The three main parts are characterised by the following:

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PERSECUTOR – “It’s All Your Fault”

-Sets strict limits unnecessarily.

-Blames

-Criticizes

-Keeps Victim oppressed

-Is mobilized by anger

-Rigid, authoritative stance

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VICTIM – “Poor Me”

-Feels victimized, oppressed, helpless, hopeless, powerless, ashamed

-Looks for a Rescuer that will perpetuate their negative feelings.

-If stays in Victim position, will block self from making decisions, solving problems, pleasure and self-understanding.

-“Dejected” stance.

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RESCUER – “Let Me Help You”

-Rescues when really doesn’t want to.

-Feels guilty if doesn’t rescue.

-Keeps victim dependent.

-Gives permission to fail.

-Expects to fail in rescue attempts.

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A “game” in Transactional Analysis is a series of transactions that is complementary (reciprocal), ulterior, and proceeds towards a predictable outcome. 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 a person to create a cirgreat timesstance 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 expectation. They are always a substitute for a more genuine and full adult emotion and response which would be a more appropriate response.

In the Drama Triangle, the ‘switch’ is then when one of these, having allowed stable roles to become established, suddenly switches role. The victim becomes a persecutor, and throws the previous persecutor into the victim role, or the rescuer suddenly switches to become a persecutor (“You never appreciate me helping you!”Log in to see images!.

Note that the “game” position of Rescuer is distinct from that of a genuine rescuer in an emergency, such as a firefighter who saves a victim from a burning building or a lifeguard who saves a victim from drowning. When played as a drama role, there is something dishonest or unspoken about the Rescuer’s attempts, or at best, a mixed motive or need to be a rescuer or have a victim to help. The rescuer plays the role more because they are driven to be a rescuer than because the victim needs their involvement.