IDC Trauma-Informed Practice 5

Question 1

After a distressing intimacy rehearsal, an actor appears withdrawn and avoids eye contact. An appropriate trauma-informed closing practice is:

Accepted Answer

Offer a brief de-role and grounding activity, and provide mental health resources

Answer

De-roling and grounding closes the nervous system loop and ensures performers leave with access to support if needed.

Question 2

Which statement best describes the relationship between trauma and the body in somatic trauma theory?

Accepted Answer

Trauma is stored in the body's nervous system and musculature, not only as narrative memory

Answer

Somatic theory, as articulated by Levine and van der Kolk, asserts that trauma is encoded in the body and requires body-based approaches for resolution.

Question 3

A performer invokes their safe word during filming. The legally and ethically correct response is:

Accepted Answer

Stop the action immediately, no questions asked, without pressure or penalty

Answer

Safe words are absolute — immediate cessation without negotiation or consequence is the contractual and ethical foundation of their use.

Question 4

Informed consent in trauma-informed intimacy work requires that performers understand:

Accepted Answer

What will happen, why it is required, all alternatives, and that refusal will not result in professional consequences

Answer

Truly informed consent requires full information, awareness of alternatives, and freedom from coercive consequences for refusal.

Question 5

When a performer's trauma response causes them to freeze, pacing the scene faster is:

Accepted Answer

Contraindicated — increasing pace during freeze deepens shutdown and reduces safety

Answer

Freeze is a parasympathetic shutdown response; acceleration increases overwhelm rather than helping the nervous system discharge and reset.

(IDC) Intimacy Directors and Coordinators Certification Practice Test

(IDC) Intimacy Directors and Coordinators Certification Practice Test

IDC Trauma-Informed Practice 5