ABSTRACT

In this work, I elucidate Winnicott’s principle of ‘mutual playing’ with reference to the treatment of a highly traumatised twelve-year-old boy, whose elder brother had committed suicide. Lamentably, he had discovered his brother’s dead body and following this experience became electively mute, lost contact with his friends, and was compulsively preoccupied with images of murder and death. It seemed that in unconscious fantasy, he believed his envy had killed his brother. He appeared to have lost the ability to imagine, and, in lacking enough contact with reality, was unable to creatively transform his unspeakable pain to comprehend the trauma. I suggest that my use of the countertransference and improvisation supported this young man’s efforts to convert the trauma into living play images. In every session, it was as if I had to become both the playwright and the supporting actor in ‘playing’ the traumatic experience with him. This form of mutual playing helped the patient regain his own ability to play, and his emotional state improved considerably. I utilise and extend Ogden’s concept of ‘talking-as-dreaming’ and suggest that a therapist often has to play from the feeling tone and imagery of the child’s experience, not about it. I suggest that with this approach, playing becomes the dream of the trauma in waking life.

摘要

在这部作品中，我通过一个受重创的十二岁男孩的治疗，阐明了温尼科特的“相互游戏”原则，他的哥哥自杀了。可悲的是，他发现了他兄弟的尸体，并且在这次经历之后变得选择性沉默，与他的朋友失去了联系，并且强迫性地全神贯注于谋杀和死亡的图像。似乎在无意识的幻想中，他相信他的嫉妒杀死了他的兄弟。他似乎已经失去了想象的能力，并且由于与现实缺乏足够的接触，无法创造性地转化他难以言喻的痛苦来理解创伤。我建议我使用反移情和即兴创作来支持这个年轻人将创伤转化为生动的游戏形象的努力。在每一个环节，就好像我必须同时成为剧作家和配角才能“扮演”他的创伤经历。这种相互玩耍的形式帮助患者恢复了自己的玩耍能力，情绪状态也得到了很大改善。我利用并扩展了奥格登的“如梦如幻”的概念，并建议治疗师经常要玩从孩子体验的感觉基调和意象出发，而不是关于它。我建议通过这种方法，玩耍成为清醒生活中创伤的梦想。