Burland J A
Int J Psychoanal Psychother. 1976;5:501-5.
Three points are discussed concerning Equus and the preceding papers: (1) Because a play is not a free association obtained within the context of the analytic situation it is most difficult to "analyze." (2) The central theme of "passion" in Equus would seem to relate to the vicissitudes of infantile omnipotence, as noted in both the content of the play and the process of playwrighting. And (3) in Equus, the playwright not only creates a reality out of a fantasy, but "tricks" the audience into being a participant in the scopophilic activities depicted.
关于《马》及之前的论文，讨论了三点：（1）由于一部戏剧并非在分析情境中获得的自由联想，所以“分析”起来极其困难。（2）正如在戏剧内容和编剧过程中所指出的，《马》中“激情”这一核心主题似乎与婴儿期全能感的变迁有关。（3）在《马》中，编剧不仅从幻想中创造出一个现实，而且“诱使”观众成为所描绘的窥视癖活动的参与者。
