Coe W C, Sarbin T R
Ann N Y Acad Sci. 1977 Oct 7;296:2-13. doi: 10.1111/j.1749-6632.1977.tb38157.x.
We set out to formulate a theory that makes counterexpectational conduct expectational. Our contextualist position has led us to the dramaturgical perspective. This perspective guided our examination of the hypnotic performance, and we noted that both the hypnotist and the subject are actors, both enmeshed in a dramatic plot, both striving to enhance their credibility. The dramatistic concepts of actor and spectator helped us make sense of the contradictory self-reports in Hilgard's analgesia studies. We underscore the proposition (long overlooked) that the counterfactual statements in the hypnotist's induction are cues to the subject that a dramatistic plot is in the making. The subject may respond to the cues as an invitation to join in the miniature drama. If he accepts the invitation, he will employ whatever skills he possesses in order to enhance his credibility in enacting the role of hypnotized person. This proposition emphasizes the need for analyzing the implied social communications contained in any interaction.
我们着手构建一种理论，使违背预期的行为变得可预期。我们的情境主义立场将我们引向了戏剧化视角。这一视角指导了我们对催眠表演的审视，我们注意到催眠师和被试都是演员，都深陷于一个戏剧情节之中，都在努力提升自己的可信度。演员和观众的戏剧化概念帮助我们理解了希尔加德镇痛研究中相互矛盾的自我报告。我们强调一个长期被忽视的命题，即催眠师诱导语中的反事实陈述是向被试暗示正在构建一个戏剧化情节。被试可能会将这些线索视为加入这场微型戏剧的邀请。如果他接受了邀请，他就会运用自己所具备的任何技能，以便在扮演被催眠者的角色时提升自己的可信度。这一命题强调了分析任何互动中所包含的隐含社会交流的必要性。
