Catharsis: Psychoanalysis and the theatre

Abstract

The notion of catharsis, in relation to tragedy, was introduced by Aristotle in his work Poetics. Over the centuries, Aristotle's innovative and enigmatic reference to this process has been widely commented on and given rise to intense controversy. In 1895, Freud and Breuer reconsidered this notion in their Studies on Hysteria, where they present the so-called cathartic therapeutic method. It is not, however, this aspect of psychoanalytical theory that the author of this article seeks to elucidate: drawing on a detailed study of the references to tragic catharsis in the work of Freud and Lacan, the author proposes to examine their implications for psychoanalytic treatment.With specific reference to Freud's article Psychopathic characters on the stage (1905) and Lacan's commentary on Sophocles' Antigone (1960), the author argues that catharsis is to be understood not so much as a mechanism of discharge linked to abreaction, but rather as the actual analytic process itself during which the Subject is 'unveiled' and thus faced with the enigma of his own desire.

Theatrical Performance as Leisure Experience: Its Role in the Development of the Self

“…This psychological component was also present in the liberation or purification proposed by Aristotle (1996, c. 335-323 BC/1996, under the name of catharsis, to define the public's reaction to the tragedy. This liberation or purification has been equated with an emotional manifestation of great intensity (Jackson, 1994;Turri, 2017), and even with the expression of the psychological conflict itself (Vives, 2011). This results in a learning experience (Ávila, 2015, p. 3) because:…”

“…335-323 BC/1996), under the name of catharsis, to define the public’s reaction to the tragedy. This liberation or purification has been equated with an emotional manifestation of great intensity ( Jackson, 1994 ; Turri, 2017 ), and even with the expression of the psychological conflict itself ( Vives, 2011 ). This results in a learning experience ( Ávila, 2015 , p. 3) because: in the tragedy it is always a question of “non-trivial” action, of significant and important action for human beings.…”

Psychoanalysis and The Arts: the Slippery Ground of Applied Analysis

“…Thus, sometimes the theoretical constructs of the analyst are clearly emphasized, and the discussion looks like an illustration of these theoretical constructs that uses a cultural work to support the argument (Fenster 2010;Gammelgaard 2011;Lane 2011;Sander 2001;Schafer 2010;Vives 2011). This intention is often explicitly stated: the author may explain that she chose a certain work of art because it gives her the possibility of exploring and developing a certain construct.…”

Kunst og emotioner

“…Med udgangspunkt i Aristoteles' beskrivelse af tragediens psykologi påviser Vives (2011) at Freud var mere påvirket af Aristoteles end først antaget, og at hans opfattelse af katarsis ikke kun refererer til Breuers metode, men har sin aktualitet i moderne psykoanalytisk taenkning. Vives fremhaever i sin fortolkning af Aristoteles' tekst frygt og medlidenhed som fundamentale for tragediens form og påpeger at oplevelsen af frygt er en frygt for sig selv, og at oplevelsen af medlidenhed er en frygt for den anden.…”

“…Det er gennem iscenesaettelsen af denne fejltagelse i dramatisk form at katarsis får sin effekt. Freuds originale bidrag til Aristoteles' teori er ifølge Vives (2011) hans identifikation af det ubevidste som mellemled mellem det der er transformeret gennem den dramatiske repraesentation til aestetisk lystfølelse, og beskuerens reaktion (p. 1017).…”