DUET FOR ONE
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The implication of Goleman’s lucid analysis is clear–the censorship of our perceptions by the unconscious leads to distorted and often bizarre interpretations of reality. While these distortions are supposed to alleviate pain–and often do, for a while–they also keep us from the truth, leaving us prone to depression, neurosis, and other forms of psychic distress. The only way to break this cycle is through self-analysis, which exposes the mischief of the unconscious mind.
The book turned out to be ideal preparation for Duet. If I hadn’t read it, I wouldn’t have been all fired up about psychoanalysis, which, in Goleman’s view, is an essential weapon in the battle against cruelty, evil, and injustice. And if I hadn’t been fired up about psychoanalysis, I would have been far less patient with the pomposity and the pat answers provided by Tom Kempinski in his play.
These discoveries arouse classic resistance in the young woman. She snarls at the doctor, belittles his abilities, and accuses him of destroying her plans for the future. Then she slides into a suicidal depression, neglecting herself and engaging in degrading activities. That arouses the doctor’s wrath, and elicits a passionate speech about the purpose of psychoanalysis:
And those who have been through the ordeal can enjoy the catharsis that comes from watching Stephanie trample resistance and repression on her way to glorious insight. Sure, it’s as implausible as a play about the Marines winning the war in Vietnam without losing a single soldier, but there are plenty of frustrated vets who would enjoy watching that.
