T/I,, An.\ if, P.\~c,/~f,r/~r,~o~~,. Vol. 10 pp. 233-239, Ankho International Inc.. 1983. Printed in the U.S.A. THE IMPACT OF THEATRICAL PERFORMANCE ON THE SELF-IMAGES OF PSYCHIATRIC PATIENTS RENEE EMUNAH, MA, RDT and DAVID READ JOHNSON, PhD, RDT” The mental patient is confronted with a rela- tively unanimous verdict about the value of his/her self from society. the family, and the hospital. The mental patient’s identity is inti- mately tied to failure, failure in a very profound sense. The negative self-images of psychiatric patients undermine the stability of every self- presentation, and make every interpersonal in- teraction a potentially dangerous event. In that the central task of theatre involves public presen- tation of self, it is difficult to imagine how pa- tients could negotiate such a challenge. Indeed, Cole (1975) suggests that theatre and schizo- phrenia are mutually exclusive. However, the- atrical production with psychiatric patients is not uncommon, though rarely reported. This paper will describe the authors’ experiences as drama therapists in producing plays with psychiatric patients. We will focus on the powerful impact of the group process on the patients’ self-images, and the struggle between the task of performance and the role of mental patient. Public presentation of the insane has its roots merely two centuries ago, when for a few pennies one could go to see the insane paraded like ani- mals in public. This practice ended as the con- ception of insanity changed from one of posses- sion and animality to illness. Society’s fears and guilt were managed by hiding the insane from view (Foucalt, 1965), a practice which continued until very recent times. A significant reversal of this trend occurred during the past twenty years as attempts to integrate the mentally ill into the community began. Theatrical productions, which often served as useful institutional distractions for mental patients (Goffman, 19611, have with greater frequency been presented to public audiences (Brookes, 1975; Johnson & Munich, 1975; Good- man & Prosperi, 1976; Rose, 1982). The com- munity mental health movement has apparently encouraged this bridging between hospital and community. A play performed by the mentally ill for the public is a unique and powerful arena of self- confrontation, for the audience member who is both fearful of and fascinated by mental illness, and for the patient-actor who is seeking foregive- ness and expecting rejection. The authors have participated in these efforts over the past ten years. They have directed or produced a total of 19 plays by inpatient and ex-patient groups for public audiences in a range of settings. These settings will now be described. SETTINGS zyxwvutsrqponmlkjihgfedcba Y.P.I. Pluyers Johnson directed six plays in a long-term in- patient psychiatric hospital. The plays were re- hearsed for two months and performed before public audiences. Several of the plays were then toured to nearby communities, schools, and other mental hospitals. The plays were usually developed through improvisation, though several utilized scripts. The casts included 5-12 patients and l-3 staff. .‘Renee Emunah is drama therapist on the staff of Gladman Memorial Hospital-Day Treatment and Youth Center in Oakland. CA and Northeast Lodge of Pacific Medical Center in San Francisco. She is also on the faculty of Antioch University West, San Francisco and director of “Beyond Analysis.” TheatreiMental Health Project at Intersection Theatre in San Francisco. David Johnson is Assistant Clinical Professor. Department of Psychiatry. Yale University and Clinical Psychologist. Psychology Serv- ice. VA Medical Center. West Haven. CT. He is also President of the National Association for Drama Therapy. 233