A Psychoanalytical Model for the Stage

A PSYCHOANALYTICAL MODEL FOR THE STAGE Georges Balassa "Le sujet n'est sujet que d'6tre assujettissement synchronique dans le champ de l'Autre"-J. Lacan Since its origin, theatre has had a therapeutic function (healing, catharsis) and a religious or spiritual function. More recently, it has become a tool for analysis of individual and social processes. These goals are common to most if not all forms of art. We are only interested here in what is specific to theatre and what makes it distinct from all the other artistic expressions such as literature, fine arts and even to a large extent film and television. This difference is clearly the physical presence of the actor as a living human being. The concepts proposed here are intended to serve as a basis for a psychoanalytical theory of the unique creative communication between actor and spectator. They are based on the striking similarity in structure and functions of the therapeutic space and the theatrical space. * * * "[Theatre] cannot exist without the actor /spectator relationship, without the direct, alive communication of perception ." J. Grotowski Towards a Poor Theatre "The irreducible elements of psychotherapy are a therapist, a patient and a regular and reliable time and place." R. D. Laing The Politicsof Experience 35 It is more than a coincidence that Grotowski and Laing found themselves compelled to define, almost simultaneously, theatre and psychotherapy by their "irreducible elements." The two definitions are perfectly alike: they both emphasize the dual relationship in a specific space. Nothing more is needed, everything else only obscures this basic relationship. Theatre needs a specific space, or- Psychotherapy needs a specific space, ganized for and created by the presence organized for and created by the presof an actor and a spectator (or several of ence of a therapist and a client. them). We call this specific space T-space. Both theatre and psychotherapy are defined by the dyadic (dualistic) interactions of two protagonists-actor/ spectator and therapist/client-in a T-space. * * * The T-space is asymmetrical both historically and geometrically. Historically it was developed and organized by the actor or the therapist before the spectator or client entered it. Geometrically, the actor or therapist occupy a privileged place, different from that ofthe spectator or client. In the theatre, the actor's place might be more or less distant from the public, on stage or in the center, but it is always symbolically distinct from the spectator's place. * * * The close relationship between theatre and psychotherapy is not only a structural analogy. At present, theatre and paratheatrical methods are more and more frequently used in psychotherapy. Inversely, more and more people come to the theatre seeking some form of healing or psychological help. What we try to demonstrate is that the dynamic forces acting in the Tspace are the same both in theatre and in psychotherapy. Such considerations will effect what one should expect from the actor. Everything in the T-space is imaginary, irreal, symbolic. The actor is free to kill, to rape, or to The client is free to express his desire of love, to dominate or to submit himself. killing, raping, making love, dominatIt is "only theatre." The spectator is ing or submitting himself. The analyst free to see the actor, to let him kill, etc. is free to hear it, to let it be told. "It is only a dream, it is only a thought." This irreality makes the spectator receptive, available to the actor. In real life, if I see two people making love, I may turn away or try to participate, I may be attracted or repulsed, but I am obliged to react. To stay and watch would be an act of voyeurism. If the same scene happens on stage, I do not have to do anything. I can watch and imagine myself in the role of the actor making love. I am free to concentrate on my own feelings, on my reactions. I give a procurationto the actor to act on my behalf. But this is possible only 36 inasmuch as the actor does not really make love. If he does, I become a voyeur, I have to withdraw my procuration. The introduction of...