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critical function. The analyst may also evaluate what explicit and implicit psychoanalytic theories were used for both observing and understanding the phenomena, and evaluate if other theories or new concepts or models are required for fuller understanding of what transpired.. The role of critic becomes more powerful after the dramatisation has occurred. In short, the analyst’s critical capacity is an important factor for defining her or his vertices of observation. 6. Light and sound technician , by aiding the director in seeing and hearing what is happening. Theatrical presentations are impossible without sound or lighting and, for this reason, technicians should seek to light up dark aspects, including aspects that are trying to disappear into the wings. A good lighting technician throws light on the characters with appropriate nuances of brightness and color. The analyst’s lighting function depends on her capacity to enter into the context of the scenes and live them “at-one-ment” (Bion, 1970). Adequate lighting is equivalent to psychoanalytically trained intuition. Since the analyst is simultaneously co-author, character and/or director, these functions will complement her or his capacity for psychoanalytic observation. Focusing on direction and lighting by the director- analyst (who is also co-author and actor) is the spontaneous product of dreams that are being dreamed. The capacity to make the adequate splits becomes an important factor for these functions to be carried out as well. The analyst’s critical capacity determines in which functions of the field she or he should become involved as participating observer. Cassorla has emphasized the capacity of the dyad to become involved in the analytic field of dreaming, which generates meanings and expands the symbolic network of thought. This capacity is determined by factors in the analyst’s intuition that allow her to work ‘without memory, without desire, without the intention to understand’, thus allowing herself to be led by what happens and without blocking meanings. It should be remembered, in fact, that one of the objectives of analysis is exactly to broaden the capacity to generate meaning. In practice, the field of dreaming may include subfields, which can be interwoven. For example, the models of cinema, theatre, circus, storytelling and playground are different ways to observe and understand the swirling and mixing together in the field. If necessary the analyst may change his vertices of observation and transform the field (of dreaming, for example) into other fields. Such transitions among different aspects of the field or among different fields depend on the cohesion of his analytic identity, allowing the analyst to be herself or himself regardless of the field in which she or he participates. II. Cbc. Multiple Fields Theory of Fabio Herrmann: A Similar Terminology with Different Meaning The Multiple Fields Theory of Fabio Herrmann can be considered an interpretation of Psychoanalysis . It takes from the Freudian interpretative method its simultaneous condition, an unusual conjunction, exploring the action of producing knowledge and cure through the psychoanalytic method. Following again the Freudian path, it amplifies and applies it to a psychoanalytic interpretation of the relation between the individual and his world.
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