Sigmund Freud Austrian Psychologist 1856 –1939

1. Sigmund Freud Austrian Psychologist 1856 –1939

2. Performance • Psychology has had a profound influence on aspects of how performance ideas – new techniques – movements /genres began to develop in the 20th century And still plays a significant part in how we understand, interpret, portray human behaviour and interaction.

3. Performance • Stanislavski – Psychological Realism The Method ( Adler & Strasbourg) • Expressionism–dreams and images – Wedekin- playwright Film Early silent film - Film Noir • Surrealism – Artaud – Theatre of Cruelty Frederico Lorca - playwright

4. Freud • Is said to be one of the key founders and early practitioners of Psychological theory • He has been superseded by more contemporary theories • But nevertheless his early pioneer work and influence are very powerful

5. Freud 1856 –1939 • Human behaviour is very complex • He develops psychoanalytical theory to explain human behaviour. • He believed that psychology was a science that used methods of observation of human behaviour. He developed the approach of using case studies and the analysis of symbols • He founded the psychoanalytic school of psychology And develops the practice of analysis or counselling to help people with their psychological problems. Patients can be cured through a dialogue with their psychoanalyst.

6. Freud is best known for his theories of : • Conscious and unconscious mind • The analysis of symbols in dreams and literature • The unconscious mind and the defence mechanism of repression • Personality development in the ID – Ego and the Super Ego • Redefinition of sexual desire as the primary motivational energy of human life,

7. Therapeutic techniques including the use of: • Free association, • Theory of transference in the therapeutic relationship, • The interpretation of dreams as sources of insight into unconscious desires

8. Ego Super Ego Id

9. The Ego • organising ways to get what a person wants in the world develops as the child starts to interact with the outside world • Works on how needs might be satisfied in response/accordance with the feelings and needs of others as we learn the rules and morals of our society • Often said to operate the reality principle- finds a compromise between the demands of our instincts of the ID and the practical constraints of the external world

10. Super Ego • “should” and “should nots” become internalised –introjections-- is the moral part of our personality. • We learn what is right and wrong from society and parents. We develop moral ideas what we believe are right and wrong behaviour. conscience – this threatens the ego with punishment for bad behaviour Ego ideal – promises rewards for good behaviour – high self esteem and pride

11. Id • – it’s a ‘reservoir of unconscious energy’ (sometimes called libido) this includes basic instincts – desires- impulse- biological instincts for food water, sexual gratification • It seeks immediate satisfaction regardless of societies rules or feelings of others – operates the pleasure principle • Its sometimes thought of as an infantile part of the personality – like throwing a tantrum

12. Personality Model – indicates that conflict is inevitable as we try to satisfy these conflicting energies (Conscious) (Unconscious) (Pre- conscious)

13. Consciousness • The conscious (Ego)-- is the level on which all of our thought processes operate. Anything that is thought, perceived or understood resides in this conscious level. • Pre-conscious.– (Super ego) here reside memories and thoughts which may threaten at any moment to break into the conscious level, which are easily recalled, and which may strongly influence conscious processes. • Unconscious, (Id)-- here lie the wishes, urges, memories and thoughts which represent the bulk of the individual's past experience. Here lie the impulses and memories which threaten to debilitate or destabilize the individual's mind

14. Conflicting energy has to find expression • They do so in • Dreams • Defence Mechanisms • Neurosis

15. Sexuality • Freud saw all human behaviour as motivated by the drives or instincts, which in turn are the neurological representations of physical needs. (a) the life of the individual, by motivating him or her to seek food and water, and (b) the life of the species, by motivating him or her to have sex. • The motivational energy of these life instincts, the "oomph" that powers our psyches, he called libido, from the Latin word for "I desire." • Freud's clinical experience led him to view sex as much more important in the dynamics of the psyche than other needs. We are social creatures, and sex is the most social of needs.

16. The Unconscious • He believes that nothing you do occurs by chance; • Every action and thought is motivated by your unconscious at some level. • In order to live in a civilized society, you have a tendency to hold back our urges and repress our impulses. • However, these urges and impulses must be released in some way; they have a way of coming to the surface in disguised forms.  • One way these urges and impulses are released is through your dreams. Because the content of the unconscious may be extremely disturbing or harmful, Freud believes that the unconscious expresses itself in a symbolic language.

17. Psychological realism • Drama that explores/reflects human behaviour and societies experiences • Individual characters are complex and have complex motivations for their actions • Stanislavski system encourages actors to explore and develop skills in characterisation through subtext – searching for character motivations- effects of their childhood, personal, social and cultural experiences Set design that reflects symbolically aspects of the themes of the text and historical context of the drama

18. Psychological Realism Stanislavski system encourages actors to explore and develop skills in characterisation through close analysis of the text searching for: • Character development effects of their childhood, parenting, personal, social and cultural experiences • Motivations- obvious that fulfil basic needs ( I am thirsty) • Motives hidden but revealed through subtext– • Character Interaction is influenced by all of these factors • Set Design that reflects symbolic aspects of the themes of the text and historical context of the drama subtext

19. Dreams to be composed of two parts The manifest and the latent content. Manifest content ( what we remember) • What people remember as soon as they wake - what can consciously describe to someone else when recalling the dream. Freud suggested that this content had no deeper meaning because it was a disguised representation of the true thought underlying the dream. It is very clear and literal.

20. Dreams the latent content • The latent content (What you don’t remember) holds the true meaning of the dream - the forbidden thoughts and the unconscious desires • Freud believed that the latent content of dreams is suppressed and hidden by the subconscious mind in order to protect the individual from thoughts and feelings that are hard to cope with. • We create symbols to represent those difficult thoughts and feelings

21. Dreams the latent content • According to Freud, the reason you struggle to remember your dreams, is because the superego is at work. It is doing its job by protecting the conscious mind from the disturbing images and desires created by the unconscious part of the mind. • Essentially, for a person to continue to sleep undisturbed strong negative emotions, forbidden thoughts and unconscious desires have to be disguised or censored in some form or another. Otherwise, confronted by these, the dreamer would become distressed and they would eventually wake up

22. Understanding Dreams • Therefore the dream, if understood correctly, could lead to a greater understanding of the dreamer's subconscious. • By uncovering the hidden meaning of dreams, Freud believed that people could better understand their problems and resolve the issues that create difficulties in their lives

23. Legacy • We accept analysing peoples complex early experiences help us to understand behaviour. • We accept different states of consciousness • Dreams can be significant • Sexual desire is a fundamental part of our lives • Dreams explore the unconscious mind and are an important part of our world experience • We use symbols to express experience in rich and varied creative ways. • ,

24. Dreams Reference to dreams become the literary and artistic form through which to express Complex emotions Explore the darker side of human nature Express fears Symbolise experience Explore the truth

25. Artistic movements • Dada Surrealists Expressionists • Antonin Artaud • Frank Wedekind • August Stindberg • Frederico Garcia Lorca • Fritz Lang

26. Surrealism • Freud's work with free association, dream analysis and the hidden unconscious was of the utmost importance to the Surrealists in developing methods to liberate imagination. • The group aimed to revolutionize human experience, including its personal, cultural, social, and political aspects, by freeing people from what they saw as false rationality, and restrictive customs and structures. • Often associated with anarchy

27. Salvador Dali Persistence of memory 1931

28. Expressionism • More generally the term refers to art that expresses intense emotion. • Artist often distorts reality to achieve an emotional effect using, exaggeration, primitivism, and fantasy through the vivid, jarring, sometimes violent images • Style of painting and sculpture that expresses inner emotions. • Expressionist artists tended to distort or exaggerate natural colour and appearance in order to describe an inner vision or emotion

29. Art • Ernst Ludwig Kirchner, Max Beckmann, Otto Dix, Lionel Feininger, George Grosz,, August Macke, Emil Nolde, • The Austrian Oskar Kokoschka, the Czech Alfred Kubin • The Norvegian Edvard Munch are also related to this movement. • During his stay in Germany, the Russian Kandinsky was also an expressionism addict.

30. Ernst Ludwig Kirchner A street in Berlin 1913 Depicting prostitutes The Scream Edvard Munch 1893

31. In his own words, Composition VII was the most complex piece he ever painted (Russian artist Kandinsky 1913)

32. Film • The most important examples are: • Robert Wiene's The Cabinet of Dr. Caligari (1920), The Golem: How He Came Into the World (1920), • Fritz Lang's Metropolis (1927) and • F. W. Murnau's Nosferatu, a Symphony of Horror (1922).

34. The Cabinet of Dr. Caligari • Siegfried Kracauer----suggests that the film can be read as an allegory for German social attitudes in the period leading up to World War II. He argues that the character of Caligari represents a tyrannical figure, to whom the only alternative is social chaos as represented by the fairground • This has been questioned saying the filmmakers adopted an Expressionist style as a method of product differentiation, establishing a distinct national product against the increasing import of American films. It was perhaps the first Horror Film. • Or another theory is it was intended to be a modern pacifist parable, with Cesare as the symbol of the people and Caligari as the state, seemingly benign and respected but in fact ordering the people to kill (in wars). The meaning of the ending, in which Caligari is unmasked and overthrown, is therefore clearly anti-authoritarian.

35. Theatre • Wedekind's first major play, Spring Awakening, 1891 concerns sexuality and puberty among some young German students, At the time it caused a scandal, as it contained scenes of masturbation, homoeroticism, and suicide, as well as references to abortion.

36. American Theatre • In the 1920s, expressionism enjoyed a brief period of popularity in the American theatre, including plays by • Eugene O'Neill --- The Hairy Ape, The Emperor Jones and The Great God Brown • Sophie Treadwell Machinal • Elmer Rice The Adding Machine

37. Music • Arnold Schoenberg, • Anton Webern and • Alban Berg, • They wanted to explore the subconscious and expressed this through atonal discordant music compositions

38. References Peace P, Bartle K (2008)- article - British Psychological Society - Chartered Psychologist Maslow A.H. (1970) Motivation and Personality (2nd ed) NewYork: Harper Row Atkinson Rita L., Atkinson R.C., Smith E., Benn D.J.(1993) (11th edition) Harcourt Brace Jovanovich College Publishers U.S.A. Stylan J.L. (1981) Modern Drama in Theory and Practice 3 Expressionism and Epic Theatre Cambridge university Press http://www.dreammoods.com/dreaminformation/dreamtheory/freud.htm Introduction to Sigmund Freud's Theory on Dreams http://www.freudfile.org/ http://www.freudfile.org/theory.html By Kevin Wilson insomnium.co.uk http://wilderdom.com/personality/L8-3TopographyMindIceberg.html

40. Oedipus complex How young boys acquire masculine gender A young 3-4 year old becomes obsessed with his mother and does not want to share her with his father which puts him in conflict with his father. As a result the boy fears castration from his father and to avoid a nasty outcome begins to identify with and behave like his father – he learns to behave like a male does

41. Case study five year old Hans • Hans had developed a phobia of horses • Hans was said to have a strong sexual desire towards his mother and once tried to seduce her. Shortly afterwards he develops a fear of horses and particularly muzzles and blinkers which horses wore in front of their eyes and mouth. • Freud interpreted this as evidence of the oedipal complex • The blinkers were symbolic of his fathers eyeglasses • Muzzles his fathers moustache • Hans was avoiding castration by transferring it on to horses