At the top right corner of every PEP Web article, there is a button to convert it to PDF. Just click this button and downloading will begin automatically.
For the complete list of tips, see PEP-Web Tips on the PEP-Web support page.
Scharff, J.S. (2017). Animal by Clare Lizzimore, directed by Gaye Taylor Upchurch, World Premiere at Studio Theatre, Washington, DC, 30 September, 2015.. Cpl. Fam. Psychoanal., 7(1):128-136.
(2017). Couple and Family Psychoanalysis, 7(1):128-136
Animal by Clare Lizzimore, directed by Gaye Taylor Upchurch, World Premiere at Studio Theatre, Washington, DC, 30 September, 2015.
Review by: Discussed and Reviewed by Jill Savege Scharff, M.D.
In Animal, a six-character domestic drama, British playwright, Clare Lizzimore, takes us into the mind of a depressed woman protagonist, beginning with her couple relationship, and moving into her self-esteem issues, her family relationships, her memories, her fantasies, and her mental state. Animal provides us with what we expect from theatre: “perception of human character, perception of life itself” (D'Useau & Gow, 1945, p. 6). This play lets us see how the family is instantiated as an internal family in the mind of the individual and how that individual mind affects, and is affected by, others in her environment, including, in this play, a well-meaning psychiatrist as a real man and a transferenceobject for a woman who is dealing with post-partum depression.
Freud used theatre to demonstrate his theory of the dynamicunconscious: the Oedipus complex (Hamlet, Macbeth, and Richard III), the Electra complex (Rosmersholm), and the impact of choice in matters of birth, sexuality, and death (The Merchant of Venice and King Lear). Freud's widespread impact on literature accounts for the awareness of unconsciousmotivation seen in contemporary theatre (Wilder, 1985). Freud “would have been uncomfortable with the role assigned to him by the historians of theatre” (Neuringer, 1992, p. 148). Nevertheless, modern theatre now acknowledges an “overwhelming indebtedness to the concepts of behaviour developed and systematized by the psychoanalytic movement, and most particularly by the genius of its founder, Sigmund Freud” (Sievers, 1970, p. 454).
My contemporary psychoanalytic perspective on theatre draws not only from classical Freudian ideas, but also from current concepts of the development of the self in relationship, and not only from an individual analytic point of view, but also from the vantage of family and culture. I want to look beyond the narrative of the play to include the impact of the play on the audience, just as a contemporary psychoanalyst uses countertransference to engage with and make meaning of the unconsciouscommunication.
[This is a summary or excerpt from the full text of the article. PEP-Web provides full-text search of the complete articles for current and archive content, but only the abstracts are displayed for current content, due to contractual obligations with the journal publishers. For details on how to read the full text of 2016 and more current articles see the publishers official website.]