Neuringer C
Department of Theatre and Film, University of Kansas.
J Am Acad Psychoanal. 1992 Spring;20(1):142-8. doi: 10.1521/jaap.1.1992.20.1.142.
Theatre historians credit Freud and his theories for being the prime impetus for the birth of the modern theatre. Freud's theatre-going activities varied throughout his life. In his younger days, he seemed to enjoy attending performances. In later life, he rarely went to the theatre except for an occasional Mozart opera or Shakespeare play. When writing about the drama, he tended to deal with it as a literary product rather than as a performed event. On only one occasion did he communicate to a friend that the healing cathartic effect of art might be greatest when viewing the drama. Although credited with being the "father" of the modern theatre, Freud was somewhat skeptical about its artistic merits and was certainly concerned about its emphasis on the irrational. However reluctant Freud was about modern dramaturgy, his ideas had a profound effect on playwrights, such as Schnitzler and O'Neill, and through them was instrumental in freeing the theatre from its Victorian moral straitjacket. Freud's ideas also served as the background for other psychoanalysts interested in the theatre, especially Otto Fenichel, who wrote the seminal paper on the actor's personality.
戏剧史学家认为，弗洛伊德及其理论是现代戏剧诞生的主要推动力。弗洛伊德一生看戏的活动不尽相同。年轻时，他似乎很喜欢观看演出。到了晚年，除了偶尔看看莫扎特的歌剧或莎士比亚的戏剧，他很少去剧院。在撰写关于戏剧的文章时，他倾向于将其作为一种文学作品来对待，而不是作为一种演出活动。他只有一次告诉一位朋友，观看戏剧时艺术的治愈宣泄效果可能是最大的。尽管弗洛伊德被誉为现代戏剧的“之父”，但他对其艺术价值有些怀疑，并且肯定担心它对非理性的强调。无论弗洛伊德对现代戏剧创作多么不情愿，他的思想对剧作家产生了深远影响，比如施尼茨勒和奥尼尔，并且通过他们有助于使戏剧摆脱维多利亚时代的道德束缚。弗洛伊德的思想也为其他对戏剧感兴趣的精神分析学家提供了背景，尤其是奥托·费尼切尔，他撰写了关于演员个性的开创性论文。
