Nice Play戲劇輔導基地

原文作者與出處： COREY KILGANNON  。https://goo.gl/KNCbeh

在踏入治療領域中，最先學習到的準則就是「界線」，
治療必須框架在一個保密的時空當中，這對個案與治療師來說，都至為重要。
這不僅是信任的基礎，也是一段修復關係開始的基點。
然而當傳統的心理療法起不了作用，是不是在治療的立基點上，能發展出不同可能的路線？

這是戲劇治療發展的脈絡，也是治療劇場的起源。
觀看與表達所帶來的療癒力量，當然也伴隨著風險。
但是在看似打破保密倫理的公開形式之下，
個案是不是獲得了更多原本框架中不能提供的療癒？

這篇紐約時報的報導稍稍討論與帶領大家初窺治療劇場的面貌，
同時我覺得倫理/保密vs療效/公開也是個很有趣的議題。
(雖然和個別的治療師與個案的關係和治療師前、後與過程中的介入方法有很大的關係
但是基本是會去做這樣的決定就是一個很不同的切入點)

開工的第一天，和大家一起來思考這個有趣的議題。

 

Therapist and Patient Share a Theater of Hurt

治療師與個案共享的傷痛劇場

By COREY KILGANNON NOV. 5, 2014

Rehearsing scenes from “Borderline,” a musical: Cecilia Dintino, in glasses, is an actual clinical psychologist; Jill Powell, an actress with borderline personality disorder, is one of her patients. CreditMichael Nagle for The New York Times

照片說明：排演音樂劇《邊緣性》的其中一幕。戴眼鏡的西西莉亞‧丁蒂諾是一位臨床心理學家；吉兒‧包威爾，一位有邊緣性人格疾患的女演員，是西西莉亞的一位個案。

It was not easily recognizable as therapy, these two women screaming at each other, their faces inches apart, during a rehearsal in a basement space in Greenwich Village.

這很難看得出來是治療─兩個女人彼此離得很近的互相尖叫─這是在格林威治村的一個地下室空間的排演過程。

The patient, a blond woman with spiky hair and spiky heels: Jill Powell, 49, an actress who had fallen on hard times. The other woman, more reserved in dress and demeanor, was Cecilia Dintino, 56, a clinical psychologist.

這位個案，金髮、著尖銳高跟的高跟鞋，是吉兒‧包威爾，49歲。她是一位落入艱難處境的女演員。另一位女士，在裝扮與舉止上看起來拘謹許多的，是西西莉亞，56歲，一位臨床心理學家。

But this particular scene had a twist; Ms. Dintino is an actual psychologist and Ms. Powell is one of her actual patients.

但這特別的一幕有個轉折，丁蒂諾女士是一位真實的心理學家，而包威爾女士是她其中的一位個案。

The therapist and the patient were rehearsing a show called “Borderline,” which features the two women playing themselves and dealing with Ms. Powell’s lifelong struggle with borderline personality disorder.

這位治療師和個案正在排演一齣戲叫做《邊緣性》，其中兩位女性扮演自己，並演出包威爾女士一輩子和邊緣性人格疾患對抗的故事。

The condition has made her life an emotional roller coaster, marked by suicide attempts and volatile breakups, and the musical portrays her struggle for stability spanning more than 10 years of treatment with Dr. Dintino.

生病的情況讓包威爾女士的生活像是乘坐一列情緒的雲霄飛車，其中包含多次的企圖自殺、反覆無常的分手。而這齣音樂劇就是描述她十多年來在丁蒂諾醫生的治療裡，努力奮鬥以求穩定。

During those years, Ms. Powell’s sessions with Dr. Dintino were conducted under the conditions of confidentiality that are considered sacrosanct in psychotherapy.

在這些年中，包威爾女士和丁蒂諾醫生的治療一直在心理治療中至高的原則─”保密”的原則下進行。

But this spring, the two women decided to give their sessions a public platform, in a musical, no less. The result is a two-woman show, scheduled to run Nov. 13 to 16 at the Provincetown Playhouse on Macdougal Street.

但今年春天，這兩格女人決定要將她們一系列的治療過程以音樂劇的形式公諸於舞台。型式上將是兩個女人的對手戲，在11/13~16在麥克道格街的普林斯頓展演廳上演。

The script is based on their tumultuous sessions and features scalding emotional exchanges interspersed with poignant songs that are often funny.

劇本是根據無數次混亂的治療歷程、快速變化的情緒轉換，其中穿插著多首聽來幽默的辛酸歌曲。

The flavor of those sessions was palpable at a recent rehearsal held in a basement studio at New York University’s Steinhardt School. Ms. Powell slammed the wall, stomped the floor, shrieked and sobbed while parrying with Dr. Dintino. At one point, the two reversed roles, leaving the therapist sobbing on the floor while Ms. Powell stood over her screaming, “You are a bad little girl — you don’t deserve to live!”

最近一次在紐約大學，斯坦哈特學院的地下室的排演可讓人初探這段治療的歷程。包威爾女士重擊牆面、用力跺腳、尖叫、啜泣並避開丁蒂諾醫生。在其中一刻，兩位互換了角色，換成治療師在地板上啜泣而包威爾女士高站其上，尖叫著：「妳是個壞女孩！─妳不值得活著！」

Soon they were up, dancing side by side and singing “The Lifeline,” with the lyric: “I found my lifeline, she stands by my side.”

很快地兩人站起來，一起共舞並共同唱出「生命線，我找到我的生命線，她與我站在同一陣線」

The action parallels Ms. Powell’s real-life ups and downs. Once a successful Broadway and television actor — soap opera fans may remember her as Marcie Breen on “As the World Turns” — she appeared in the 1990s in Broadway productions of “Grand Hotel” and “Damn Yankees,” playing Lola alongside Tony Randall.

這場演出可比擬包威爾女士真實生活中的起起伏伏。她從前是個成功的百老匯和電視劇演員─肥皂劇的粉絲大概會記得她在《當世界翻轉》(暫譯)中飾演的瑪希，在九零年代的百老匯《大飯店》、《可惡的洋基》中，於東尼旁邊飾演蘿拉。

But her career has declined over the past 15 years, as her struggle with her disorder has grown more acute. The work in television commercials dried up, and the foundation she established to teach art to teenage girls failed after financial missteps, she said.

但過去的十五年在她掙扎著面對她越來越劇烈的疾患，她的職涯持續走下坡。不再接得到電視廣告，而她過去累積許多青少女的藝術教育工作也因為財務上的失策而終止。

These days she is homeless and destitute, sometimes sleeping in her car, and relying on government benefits, though she still often goes hungry. She hopes the musical leads to other opportunities to publicly discuss a disorder that people are often uncomfortable acknowledging.

這些日子以來她無家可歸、貧困，有時她睡在車裡；她倚賴政府的社會補助但她仍時常感到飢餓。她希望這齣音樂劇能讓大眾有機會去討論普遍讓人感到不舒服、不願承認的疾患。

Dr. Dintino, a clinical psychologist with a private practice in Manhattan and a faculty position at Columbia University, also teaches in N.Y.U.'s drama therapy program, which uses theater techniques as a means to heal.

丁蒂諾醫生，一位臨床心理學家，在曼哈頓有一間私人診所，同時任教於哥倫比亞大學和運用劇場技巧作為治療管道的紐約大學戲劇治療所。

A few months ago, she and the therapy program’s director, Robert J. Landy, began discussing the possibility of basing a dramatic piece on Ms. Powell’s treatment. They were daunted by the prospect of turning private interaction into a public exposition, and under normal circumstances, Dr. Dintino said, she would not have considered it.

幾個月前，她和紐約大學戲劇治療所的主任─羅伯特‧藍迪，開始討論以包威爾女士的治療為藍本發展一齣劇作的可能性。想到將私下的互動搬上檯面他們都十分戰兢、恐懼。丁蒂諾醫生說在一般的情況下她是不會考慮的。

As she tells Ms. Powell in the show, “I’m breaking all the rules here to do this play.”

如同在劇中她跟包威爾說的：「我打破一切規矩來做這齣戲」。

But Ms. Powell’s treatment has hardly been conventional, and can range from actions like hugging to screaming profanities. With roles that have included friend, big sister and lifeline, Dr. Dintino has fielded numerous late-night phone calls from Ms. Powell in suicidal situations.

但包威爾女士的治療已經很不傳統了，行動方面從擁抱到尖叫著咒罵。角色方面包含了朋友、大姊、生命線，還有許多次包威爾女士半夜因為企圖自殺而打給丁蒂諾醫生緊急電話。

Dr. Dintino said that her behavioral approach to Ms. Powell’s condition allows for a more personal relationship with the patient than conventional psychotherapy, and for looser guidelines when it comes to patient-therapist relations.

丁蒂諾醫生說她以實際行動接觸包威爾女士，使她能夠和包威爾女士比起傳統的心理治療有更親近的關係，而回到治療關係中也有較鬆的準則。

Ms. Powell was willing to bare all as a patient, and both women felt the risks were outweighed by the potential therapeutic value, as well as the attention that the show could bring to the disorder.

包威爾女士很願意坦露身為病人的一切，且兩位女士都感受到其中帶來的治療效果還有人們對於相關疾患的關注應該遠勝於演出的風險。

As for the notion that the decision constitutes a breach of ethics, Dr. Landy said, “With certain forms of mental illness that do not respond to conventional treatment, we need a more radical approach, which therapeutic theater can provide.”

考慮到這個演出的決定可能破壞治療倫理，藍迪博士說：「對於某些以傳統治療法不管用的疾患，我們需要一些更突破性的做法，而治療劇場能提供這環境。」

Both women had lengthy discussions with Dr. Landy, 70, who wound up writing the dialogue and song lyrics, which were set to music by Michael Starobin.

兩位女士都與藍迪教授有很長時間的討論，七十歲的藍迪教授撰寫了劇中的對話與歌詞，由麥可‧史達羅賓譜曲。

The production has the two women pacing and stalking around the stage, sometimes flinging themselves on the floor or against the wall.

兩個女人在整齣戲中漫步在舞台上或彼此追蹤，有些時候她們狠狠地摔到地上或是牆上。

The women use stage names; Ms. Powell is Mell and Dr. Dintino is Tina. The program gives their real names, and Dr. Dintino acknowledges the thinness of the veil early in the show when she tells the audience that “we are playing out our real relationship.”

兩位女士的舞台化名分別是：包威爾女士是梅爾，丁蒂諾醫生是緹娜。然而在節目單上有她們的真實姓名，丁蒂諾醫生也承認這沒有甚麼化名或掩飾的作用，因為她在戲的一開始就告訴觀眾「我們是在演出我們之間真實的關係」。

In rehearsals Ms. Powell crackles with manic energy, playing herself. Her emotions have run so high that some rehearsals have stalled, or even been canceled, “so people could recover and pull themselves together,” the show’s director, Dave Mowers, said.

彩排中，包威爾女士在扮演自己時與自己瘋狂的能量角力。她的情緒會高漲到有時彩排會動彈不得甚至得取消。「所以人們才能在這當中復原並找回自己」，這齣戲的導演，戴維‧毛爾說。

Ms. Powell promises Dr. Dintino in the show that she will not kill herself, even though she adds, “I want to die.”

包威爾女士在劇中答應丁蒂諾醫生她不會自殺，即使她仍說著：「我想死」。

“But if you die,” Dr. Dintino answers, “we’ll have no play.”

「但如果你死了，我們就沒戲唱了」丁蒂諾醫生說。