Rosemary Balsam (North America),
Roosevelt Cassorla (Latin America),
and Antonio Pérez-Sánchez (Europe)
来源:IPA精神分析百科辞典
I. DEFINITIONS
一、定义
The concept of enactment does not have a stable place in psychoanalytic theory. Uses of the term vary widely from confinement to the analytic situation to a broad range of interactions and behaviors in life.
扮演这个概念在精神分析理论中并没有一个稳定的位置。该术语的使用非常宽泛,范围从狭义的仅限于(confinement)分析情境到广义的一般生活中的互动和行为。
Following the first use of the term in a title of a paper by Theodore Jacobs (1986), enactment has often been thought of as a North American concept. However, in contemporary North American psychoanalytic literature, there is no single concept of enactment. Rather, there is a group of such concepts, more or less closely related to one another but also quite different from one another. The following sample of the uses absorbs, combines and expands on, the North American definitions of the concept by Akhtar (2009) and Auchincloss and Samberg (2012):
Theodore Jacobs(1986)在一篇论文的标题中首次使用了这个术语之后,通常认为扮演是一个北美的概念。然而,在当代北美精神分析文献中,没有单一的扮演的概念,相反,有一组这样的概念,这些概念彼此之间或多或少有着密切的联系,但也有很大的不同。下面的示例,吸收、结合并扩展了由Akhtar(2009)Auchincloss和Samberg (2012)对这一概念的北美定义:
Transference/Countertransference enactments (e.g., Jacobs 1986, Hirsch, 1998), where analyst and/or analysand express transference or countertransference wishes in action, rather than reflecting on and interpreting them. This use of the term was further expanded by McLaughlin (1991) to include 'evocative-coercive transferences of both patient and analyst’ and yet further developed by Chused (1991, 2003) as 'symbolic interactions' with unconscious meaning for both participants, potentially extending beyond the analytic situation. This phenomenon could be viewed as a version of ‘acting out’ or ‘acting in’ (Zeligs, 1957), extended to both participants.
· 在移情与反移情扮演(例如,Jacobs 1986, Hirsch, 1998)的概念中,分析师和/或分析者的移情或反移情意愿是在行动中表达的,而不是通过反思和解释来表达移情/反移情。这个术语的使用进一步被McLaughlin(1991)扩展,包括“唤起了患者和分析师的强制移情”,同时,这个概念又进一步的被Chused (1991, 2003) 发展为:参与双方无意识意义的“象征性互动”潜在地扩展超越了分析情景。这种现象可以被看作是另一个版本的“咨询室内的付诸行动”或“咨询室外的付诸行动” (Zeligs, 1957),(将这一概念的适用范围)扩展到了参与双方。
The analysand’s unconscious induction of the analyst to live out the analysand’s unconscious fantasies. This idea is akin to 'projective identification' and/or 'role responsiveness'.
分析者的无意识诱发了(induction)分析师对分析者无意识幻想的践行(live out)。这个观点与“投射性认同”和/或“角色响应性”是同源的。
An embedded series of often subtle, unconscious, interactive, mutually constructed dramas that are lived out' (Levine and Friedman, 2000, p.73; Loewald, 1975). Here, ‘enactment’ is being used to name a kind of intersubjectivity since the analyst is seen as a co-creator of what happens between the two parties.
一系列的践行化身(embedded)通常是微妙的,无意识的,互动的,相互构建的戏剧,(Levine and Friedman, 2000, p.73; Loewald, 1975) 。在这里,“扮演”被用来命名一种主体间性,因为分析者被看作是双方之间发生的事情的共同创造者。Any dramatic expression of transferential/countertransferential rupture of a fluid analytic containing exchange (Ellman, 2007), potentially extending beyond the psychoanalytic situation (Chused, Ellman, Renik, Rothstein, 1999), may be communicated nonverbally or verbally (see the “interpretative enactment” by Steiner, 2006a, below)
任何移情/反移情的戏剧性的表达打断了分析性涵容交流的流动(Ellman,2007),潜在地扩展超越了精神分析情境 (Chused, Ellman, Renik, Rothstein, 1999),可能通过语言或非语言形式进行沟通(参见“诠释性扮演”的斯坦纳,by Steiner, 2006a, 下同)。
In Latin America this conceptual plurarity has been reduced, owing to the additional historical influences of authors like Racker (1948, 1988), Grinberg (1957, 1962), and Baranger & Baranger (1961-1962), and the further contemporary studies of Cassorla (2001, 2005, 2009, 2012, 2013, 2015), Sapisochin (2007, 2013) and others.
在拉丁美洲,这个概念的众多性有所简化,源自于像Racker(1948, 1988), Grinberg (1957, 1962), and Baranger & Baranger (1961-1962)这些作者的附加历史影响,以及Cassorla (2001, 2005, 2009, 2012, 2013, 2015)Sapisochin (2007, 2013) 和其他人对这一概念的进一步研究。
The predominant contemporary understanding of enactment in Latin America concerns phenomena where the analytical field is invaded by discharges and/or behaviors that involve both patient and analyst. Enactments arise from mutual emotional inducement without the members of the analytical dyad clearly realizing what is happening. Enactments reflect back to situations where verbal symbolization was impaired and, when words are available, they are used in limited and concrete ways. Enactments are ways of remembering early relationships through behaviors and feelings that are part of defensive organizations. (See below the differences between chronic and acute enactments)
情绪的相互诱导中产生了扮演,分析二元关系中没有一个成员清晰的认识到正在发生的是什么。扮演如是的反应了以下的情景,在这一情景中,语言符号化受损了,而且,词语是有效可用的,他们被用在了有限和具体的方式之中。扮演通过行为和感受回忆着早期的关系的方式,是防御组织的一部分。(参见下文中的慢性与急性扮演之间的差异)
当代拉丁美洲将扮演的概念现象理解为,分析师以及分析者双方的卸载和/或行为侵入了分析领域的现象。在
European understanding of the term is closer to the Latin American than to the North American version, because the concept is rather exclusively confined to the analytical session.However, for some European analysts it differs from the Latin American version in that enactment is not so much a co-creation of patient and analyst, but rather the result of the interaction between them. The references to enactment being positioned within the countertransference or acting out are also fairly common
欧洲对这个术语的理解比北美版本更接近拉丁美洲,因为这个概念完全局限于分析会谈之中。然而,对于一些欧洲分析家来说,它不同于拉丁美洲版本的地方是,扮演不是病人和分析家共同创造的,而是他们之间交互作用的结果。所涉及的扮演被设定在反移情之中或咨询室外付诸行动之中也相当普遍。
For example, Steiner’s (2006a) view of “interpretative enactment” is about the analyst's verbal communication, and is the idea that, though offered as interpretation, the utterance expresses the analyst's countertransferential feelings and attitudes.
例如Steiner(2006a)认为“诠释性扮演”是分析师的言语沟通,并且认为,虽然(分析师)提供了诠释,(但是)这种话语表达的是分析师的反移情感受和态度。
The prevailing view of enactments in relation to psychoanalytic interpretation, within all three continental psychoanalytic cultures, is that whatever the formulation of the underlying processes and contents, enactments, as they relate to the psychoanalytic situation,are seen as developmentally and/or dynamically meaningful, and they need to be understood and ultimately, however gradually and in an individualized fashion, interpreted (Papiasvili, 2016).
在所有三个大陆的精神文化中,对于与分析性诠释相关的扮演的理解,占主导地位观点是,无论基本过程和内容是如何制定的,与精神分析情景有关的扮演,是具有发展的意义和/或具有动态意义的,而且他们需要被理解,并且最终逐渐地以一种个性化的方式被诠释(Papiasvili, 2016)。
II. BACKGROUND IN FREUD
弗洛伊德的背景
二、The contemporary concepts of enactment all have roots in concepts that Freud articulated. From the time of Breuer’s treatment of Anna O. (Breuer, 1893) -- the first collusion described in the psychoanalytical literature -- Freud (1895) was concerned about actions that took place in the course of the patient unfolding his or her problems to the analyst. Transference (1905) was the first such discovery (the Dora case), where the fantasy structure of the patient is projected onto the analyst. Though first described in his selfanalysis in 1899 (The Interpretation of Dreams), in 1910 Freud gave the oedipus complex greater prominence, showing how children related sexually to their parents in patterns that they repeated in adult life, now with the analyst as parental substitute. Countertransference (1910) followed, referring to “the patient’s influence on his unconscious feelings” (1910, p.144). Acting out was next (1914) (though Freud had mentioned it earlier, seeing Dora’s premature termination as revenge on Freud, a substitute object for the punishing feelings that she felt towards Herr K). A further underpinning of the contemporary term ‘enactment’ came with his appreciation of the importance of the repetition compulsion (1914). This concept described how traumata unconsciously became repeated in treatment and in life. Freud wrote,
自我分析,但是弗洛伊德1910的俄狄浦斯情结概念具有更显赫的地位,俄狄浦斯情结展现了孩子们是如何将性与父母联系起来的,这是他们在成年生活中重复的模式,现在,作为父母的分析师替代了父母。紧随其后的反移情(1910),指的是“病人对他(分析师)无意识情绪感受的影响”(1910,p.144)。接下来的是扮演(1914)(尽管弗洛伊德在之前提到过,参见朵拉过早地终止治疗,并以此报复弗洛伊德,这个行为是她觉得要针对Herr K的惩罚性情绪感受的替代物)。当代术语“扮演”更进一步的基础来自于弗洛伊德对强迫性重复之重要性的评估(1914)。强迫性重复的概念描述了创伤是如何不知不觉地在治疗和生活中再三重复的。弗洛伊德写道,
当代的扮演概念都源自于弗洛伊德所阐述的概念。自从布鲁尔治疗安娜·欧(Breuer,1893)开始——在精神分析的文献中描述的第一个共谋——弗洛伊德(1895)所关注的是病人在向分析师展开他或她问题的过程中所发生的行为。移情(1905)就是这样第一次被发现了(朵拉的案例),即,病人的幻想结构投射在分析师身上了。虽然弗洛伊德在1899(梦的解析中)第一次描述了他的“He reproduces it not as a memory but as an action; he repeats it without, of course, knowing that he is repeating it… he cannot escape from this compulsion to repeat; and in the end we understand that this is his way of remembering…” (1914, p.150)
记忆,而是作为一种行动;他不停的重复它,当然,(他)知道他正在重复着它……他不能逃离这种重复的冲动;而最终,我们明白了,这是他的回忆方式…”(1914,p.150)
“他重复它,并非是作为In 1923, the development of the structural theory led to a focus on the defense mechanisms and their relation to the ego. Defenses that would become central to the concept of enactment were projection, introjection, and re-projection. In sum, the current concepts of enactment embody, though of course also go beyond, many Freudian concepts.
防御机制与自我之间关系的关注。成为扮演概念之中心的防御是投射、内摄、以及并重新投射。总之,目前的扮演概念体现了许多弗洛伊德的概念,当然也超越了许多弗洛伊德的概念。
在1923年,结构理论的发展导致了人们对防卫机制及其III. DEVELOPMENT OF THE CONCEPT
三、扮演概念的发展
The verb to enact is allied to the verb to act and one of the meanings of to act is to play a dramatic or theatrical role. The term to enact, together with its corresponding noun enactment, is found, imprecisely, in early and contemporary psychoanalytical literature, and refers to dramatic externalizations of the patient’s internal world either in a session or in everyday life. The term re-enactment has the same meaning.
“扮演enact”的动词与“表演act”的动词相关联,表演的一个意义是扮演戏剧性或戏剧化的角色。术语“扮演enact”,连同其相应的名词形式“扮演enactment”,能够在早期和当代精神分析文献中含糊不清的找到,指的是病人内部世界的戏剧性外化。要么这是在日常生活中,要么是在一节咨询中。术语“重新扮演re-enactment”一词有着相同的意义。
In his seminal paper “On Countertransference Enactments”, Jacobs (1986) describes enactments as situations where an analyst is surprised by his own apparently inadequate countertransferential behavior. Later, the analyst may perceive the connections among his behavior, the emotional induction of the patient and personal factors of his own. Jacobs (1991, 2001) further clarified, emphasized, and popularized the term ‘enactment’. He used the term as the name for a specific occurrence in analysis in which one participant's psychology is played out vis-à-vis the other. What he tried to convey was the idea that enactments are behaviors on the part of patient, analyst, or both, that arise as a response to conflicts and fantasies stirred up in each by the ongoing therapeutic work. While linked to the interplay of transference and countertransference, these behaviors are also connected via memory to associated thoughts, unconscious fantasies and experiences of infancy and childhood. Thus, for Jacobs, the idea of enactment contains within it the notion of reenactment, that is, the reliving of bits and pieces of the psychological past of both parties in the analytic situation.
雅可布森(1986)在他的开创性论文“论反移情扮演”中描述了扮演的情景。分析师惊讶于他自己显而易见不适当的反移情行为。后来,分析师可能察觉到:他的行为、病人的情绪感应、以及他自己个人因素之间的联系。雅可布森在1991年和2001年的文章中进一步澄清、强调并推广了“扮演”一词。他用这个术语来命名在分析中发生的一种具体的情况,即,其中的一个参与者的心理被面对面谈话的另一个人扮演了。雅可布森想传达的想法是:扮演,部分是病人的、部分是分析师的,或者是双方的行为,这些行为是在治疗性工作的进行中激发而出现,以此回应冲突和幻想。而与移情和反移情的相互作用相联系的这些行为,也通过记忆来关联于自由联想的想法,无意识的幻想和婴幼的体验。因此,对于雅可布森来说,扮演的想法包含着重演的概念,也就是说,在分析情景中再次经历过去心理的点点滴滴和零零碎碎。
Jacobs’ concept of enactment resonates with Winnicott's (1963) somewhat paradoxical notion that, if the analysis goes well and the transference deepens, the patient will get the analyst to fail him as needed in the area of normal infantile omnipotence, i.e., in the transference.
Winnicott(1963)有些自相矛盾的观念,如果分析进行得很顺利,并且移情也深入了,病人会在正常的婴儿全能幻想区域,即在移情中,在他需要的时刻,挫败分析师。
雅可布森的扮演概念共鸣于However, Jacobs was not the first. Hans Loewald had used the term earlier, in “Psychoanalysis as an Art and the Fantasy Character of the Psychoanalytic Situation” (1975). He wrote that,
然而,雅可布不是第一个使用“扮演”这个词的人。Hans Loewald在他之前就曾经在“作为艺术的精神分析以及精神分析情境的幻想特征”(1975)”之中就使用过这个词。他写道,
“…[the] process in which patient and analyst are engaged with each other … involves a re-enactment, a dramatization of aspects of the patient’s psychic life history, created and staged in conjunction with, and directed by, the analyst”. (p. 278-9)