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Psychology for performing artists—Butterflies and bouquets
Book Reviews
239
From the moment I began reading this book I was gripped with the poignancy of the first-person descriptions and Moira Walker's ability to weave together, from extended interviews, the experiences of a large number of adult survivors of abuse. She breaks down the interviews into sections detailing the effects of the abuse on their childhood, their adulthood, and their education, employment, relationships and friendships. This book is not a handbook about how to treat adult survivors of abuse, but rather a sad tale of the effects of abuse on all aspects of the survivors' lives. However, the book does provide the reader with several chapters discussing the process of treatment and the potential areas of difficulty, for example "moving on and letting go". Particularly devastating to professional readers are the descriptions of the poor or non-existent understanding and help provided by a variety of mental health workers and others when the abuse has been disclosed. One of the aims of this book is to prepare the reader for the experience of working with adult survivors of abuse. The author continually issues warnings to professionals about the effects of working with survivors on their own lives, including stress and the effect on one's own relationships, and strongly recommends the need for supervision when undertaking this type of work. One of the features of this account is that it allows the reader to understand better how much of the survivor's life will need to be examined and treated. Another interesting feature of this book is the chapter on Multiple Personality Disorder (MPD) which provides evocative interviews with individuals with MPD. It will be difficult to discount the disorder as a diagnostic category after reading these descriptions. Overall, this book is an excellent starting point for anyone interested in understanding, or beginning work with, adult survivors of abuse, and a good reminder for those already working with survivors. JANET FEIGENBAUM
I. B. WEINER: Psychological Disturbance in Adolescence, 2nd Edition. Wiley, New York (1991), xiii + 478 pp. £39.98 The second edition of this book, like its predecessor, aims to cover the main substantive topics in the field of adolescent psychopathology. And one must admit that this is achieved admirably. The reader is provided, throughout its eleven chapters, with a vast amount of information of a quality higher than one usually finds in most books in this broad and complex field. The first two chapters are concerned with conceptual and theoretical issues such as normality, abnormality and psychopathology in the context of adolescent development. Also covered are basic issues of assessment, classification and differential diagnosis. In spite of their importance, these topics are often omitted or barely referred to in many books of adolescent psychopathology or psychiatry. Chapters 3-6 deal with the main traditional psychiatric categories: schizophrenia, affective disorders, borderline disorders and anxiety disorders. Chapters 7-10 focus on other problems that, although difficult to fit into classic psychiatric classifications, are nonetheless among the most frequent causes of adolescents' referral for mental health institutions: academic underachievement, delinquent behaviour, suicidal behaviour and substance abuse. Generally, the author defines each disorder, provides epidemiological data, discusses diagnostic criteria, describes associated factors, provides some practical examples and points out classic and/or recent trends in treatment. The last chapter provides a nice overview of the basic principles of psychotherapy with disturbed adolescents and illustrates some of the strategies to use (and some of the pitfalls to avoid) during the therapeutic process. All in all, this book represents an ambitious effort to bring together, in one volume, most of what is known about adolescent psychopathology. Of course, there are some limitations. Some major disturbances (e.g. eating disorders and post traumatic stress) have not been included in this volume; others (e.g. academic underachievement) are dealt with in a rather superficial or general way; and the psychodynamic approach is sometimes overrated (e.g. against remedial education in the case of learning difficulties). Apart from these limitations, Psychological Disturbance in Adolescence remains an excellent sourcebook for clinical psychologists, psychiatrists and other professionals interested in the field of adolescent psychopathology. ANTONIO CASTRO FONSECA
L. C. WHITAKER: Schizophrenic Disorders--Sense and Nonsense in Conceptualisation, Assessment and Treatment, Plenum Press, New York (1992). xv + 256 pp. $35.00 This is an interesting if flawed book. Its author sets himself the daunting task of developing a psychosocial approach to psychotic illness which takes the best from both idiographic and nomethetic schools. However, other than in his foreword, there is little support adduced for a nomethetic approach anywhere else in the book. It is written without any reference to the work of British writers and as such seems strangely out of step with developments here. This is not the book to read if you are looking for a review of contemporary psychosocial approaches used in Britain---e.g. 'EE' and cognitive therapy. Although emphasising the need for alternatives to medication only a psychoanalytic approach to psychotherapy is advocated. The book is appropriately sceptical about the assumed benefits of long term medication and does highlight the risk of replacing positive symptoms with exacerbated negative ones. Tests are seen as important in clarifying diagnosis, but again the choice of tests referred to seems idiosyncratic to this reviewer. It seems to be the work of a writer struggling with his own awareness of the flaws of this diagnosis. The evidence points to rejecting it and replacing it with something more meaningful, but this is not explored fully. STEVENJONES
GLENN D. WILSON: Psychology for Performing Artists--Butterflies and Bouquets. Jessica Kingsley, London (1994). 420 pp. £14.95 The claim of this book is that psychology and theatre have much to offer each other. Psychology can help performing artists understand themselves and optimize their art. Conversely, the study of theatre as the 'mirror of life' is of great value to
240
Book Reviews
psychologists because human preoccupations and conflicts are played out, not just for entertainment but also for self-discovery, catharsis and impetus to social change. The first seven chapters focus primarily on theatre, the remaining five on music. The book opens with a consideration of the effects that theatre has on the individual and society and some mechanisms whereby these are achieved, e.g. fantasy, ritual, possession (and shamanism). Social processes in the theatre are discussed such as: audience feedback, timing, identification, charisma and idolization, and social facilitation. Two main approaches to actor training are contrasted: imaginative (using empathy and character analysis) and technical (focussing on the effect on the audience). The communication of emotion, especially through non-verbal means is treated, and the theme of movement in space developed with a discussion of gesture and personal space. There follows a chapter on comedy and comedians: theories of humour, its therapeutic value, and the character and possible psychopathology of comedians. The arena now shifts to music beginning with a consideration of instinctive and experiential components in the power of music. There follows a sane discussion of the roles of talent and training in musical ability. Personality characteristics of actors, dancers and singers are treated, together with sources of stress and the cost of success. Components of stage fright are analysed and therapies for its treatment discussed, both drug and psychological coping mechanisms: all-purpose relaxation, deconditioning and cognitive. The final chapter is on therapeutic uses of performing arts: Wagnerian opera as proto-psychoanalysis and a description of techniques used in psychodrama, dramatherapy, dance movement and music therapies. This book replaces the author's earlier The Psychology of Performing Arts, published in 1985, which it up-dates and develops. The source materials include experimental research papers as well as media reports. The work is informed by the author's own experience in opera and theatre as actor, director and opera singer and by discussions with professionals. It provides an excellent, wide-ranging and always interesting summary, written in a style accessible to the general reader. The source of statements is not always given, which may make it difficult for students to check authorities (though many references are provided for follow-up reading). It will appeal to a wide audience, providing a framework for researchers, a textbook for students, and practical advice for performers. ELIZABETHVALENTINE
239
From the moment I began reading this book I was gripped with the poignancy of the first-person descriptions and Moira Walker's ability to weave together, from extended interviews, the experiences of a large number of adult survivors of abuse. She breaks down the interviews into sections detailing the effects of the abuse on their childhood, their adulthood, and their education, employment, relationships and friendships. This book is not a handbook about how to treat adult survivors of abuse, but rather a sad tale of the effects of abuse on all aspects of the survivors' lives. However, the book does provide the reader with several chapters discussing the process of treatment and the potential areas of difficulty, for example "moving on and letting go". Particularly devastating to professional readers are the descriptions of the poor or non-existent understanding and help provided by a variety of mental health workers and others when the abuse has been disclosed. One of the aims of this book is to prepare the reader for the experience of working with adult survivors of abuse. The author continually issues warnings to professionals about the effects of working with survivors on their own lives, including stress and the effect on one's own relationships, and strongly recommends the need for supervision when undertaking this type of work. One of the features of this account is that it allows the reader to understand better how much of the survivor's life will need to be examined and treated. Another interesting feature of this book is the chapter on Multiple Personality Disorder (MPD) which provides evocative interviews with individuals with MPD. It will be difficult to discount the disorder as a diagnostic category after reading these descriptions. Overall, this book is an excellent starting point for anyone interested in understanding, or beginning work with, adult survivors of abuse, and a good reminder for those already working with survivors. JANET FEIGENBAUM
I. B. WEINER: Psychological Disturbance in Adolescence, 2nd Edition. Wiley, New York (1991), xiii + 478 pp. £39.98 The second edition of this book, like its predecessor, aims to cover the main substantive topics in the field of adolescent psychopathology. And one must admit that this is achieved admirably. The reader is provided, throughout its eleven chapters, with a vast amount of information of a quality higher than one usually finds in most books in this broad and complex field. The first two chapters are concerned with conceptual and theoretical issues such as normality, abnormality and psychopathology in the context of adolescent development. Also covered are basic issues of assessment, classification and differential diagnosis. In spite of their importance, these topics are often omitted or barely referred to in many books of adolescent psychopathology or psychiatry. Chapters 3-6 deal with the main traditional psychiatric categories: schizophrenia, affective disorders, borderline disorders and anxiety disorders. Chapters 7-10 focus on other problems that, although difficult to fit into classic psychiatric classifications, are nonetheless among the most frequent causes of adolescents' referral for mental health institutions: academic underachievement, delinquent behaviour, suicidal behaviour and substance abuse. Generally, the author defines each disorder, provides epidemiological data, discusses diagnostic criteria, describes associated factors, provides some practical examples and points out classic and/or recent trends in treatment. The last chapter provides a nice overview of the basic principles of psychotherapy with disturbed adolescents and illustrates some of the strategies to use (and some of the pitfalls to avoid) during the therapeutic process. All in all, this book represents an ambitious effort to bring together, in one volume, most of what is known about adolescent psychopathology. Of course, there are some limitations. Some major disturbances (e.g. eating disorders and post traumatic stress) have not been included in this volume; others (e.g. academic underachievement) are dealt with in a rather superficial or general way; and the psychodynamic approach is sometimes overrated (e.g. against remedial education in the case of learning difficulties). Apart from these limitations, Psychological Disturbance in Adolescence remains an excellent sourcebook for clinical psychologists, psychiatrists and other professionals interested in the field of adolescent psychopathology. ANTONIO CASTRO FONSECA
L. C. WHITAKER: Schizophrenic Disorders--Sense and Nonsense in Conceptualisation, Assessment and Treatment, Plenum Press, New York (1992). xv + 256 pp. $35.00 This is an interesting if flawed book. Its author sets himself the daunting task of developing a psychosocial approach to psychotic illness which takes the best from both idiographic and nomethetic schools. However, other than in his foreword, there is little support adduced for a nomethetic approach anywhere else in the book. It is written without any reference to the work of British writers and as such seems strangely out of step with developments here. This is not the book to read if you are looking for a review of contemporary psychosocial approaches used in Britain---e.g. 'EE' and cognitive therapy. Although emphasising the need for alternatives to medication only a psychoanalytic approach to psychotherapy is advocated. The book is appropriately sceptical about the assumed benefits of long term medication and does highlight the risk of replacing positive symptoms with exacerbated negative ones. Tests are seen as important in clarifying diagnosis, but again the choice of tests referred to seems idiosyncratic to this reviewer. It seems to be the work of a writer struggling with his own awareness of the flaws of this diagnosis. The evidence points to rejecting it and replacing it with something more meaningful, but this is not explored fully. STEVENJONES
GLENN D. WILSON: Psychology for Performing Artists--Butterflies and Bouquets. Jessica Kingsley, London (1994). 420 pp. £14.95 The claim of this book is that psychology and theatre have much to offer each other. Psychology can help performing artists understand themselves and optimize their art. Conversely, the study of theatre as the 'mirror of life' is of great value to
240
Book Reviews
psychologists because human preoccupations and conflicts are played out, not just for entertainment but also for self-discovery, catharsis and impetus to social change. The first seven chapters focus primarily on theatre, the remaining five on music. The book opens with a consideration of the effects that theatre has on the individual and society and some mechanisms whereby these are achieved, e.g. fantasy, ritual, possession (and shamanism). Social processes in the theatre are discussed such as: audience feedback, timing, identification, charisma and idolization, and social facilitation. Two main approaches to actor training are contrasted: imaginative (using empathy and character analysis) and technical (focussing on the effect on the audience). The communication of emotion, especially through non-verbal means is treated, and the theme of movement in space developed with a discussion of gesture and personal space. There follows a chapter on comedy and comedians: theories of humour, its therapeutic value, and the character and possible psychopathology of comedians. The arena now shifts to music beginning with a consideration of instinctive and experiential components in the power of music. There follows a sane discussion of the roles of talent and training in musical ability. Personality characteristics of actors, dancers and singers are treated, together with sources of stress and the cost of success. Components of stage fright are analysed and therapies for its treatment discussed, both drug and psychological coping mechanisms: all-purpose relaxation, deconditioning and cognitive. The final chapter is on therapeutic uses of performing arts: Wagnerian opera as proto-psychoanalysis and a description of techniques used in psychodrama, dramatherapy, dance movement and music therapies. This book replaces the author's earlier The Psychology of Performing Arts, published in 1985, which it up-dates and develops. The source materials include experimental research papers as well as media reports. The work is informed by the author's own experience in opera and theatre as actor, director and opera singer and by discussions with professionals. It provides an excellent, wide-ranging and always interesting summary, written in a style accessible to the general reader. The source of statements is not always given, which may make it difficult for students to check authorities (though many references are provided for follow-up reading). It will appeal to a wide audience, providing a framework for researchers, a textbook for students, and practical advice for performers. ELIZABETHVALENTINE