'On Acting.': Otto Fenichel.

Psychoanalytic Quarterly, Vol. XV, 1946, No. 2.

The author summarizes the psycho-analytic views on the unconscious aim of acting and states that there is always a minimum of erogenous satisfaction of exhibitionistic tendencies, a direct narcissistic gratification derived from the reaction of the audience which increases self-esteem and narcissistic satisfaction from a magical influence on the audience.

As with children's play, the acting allows the actor to get rid of anxieties or to build up defences against future anxieties by active means. Although the actor unconsciously plays himself, he believes that he is acting another person and 'playing a part is making test-identifications'. Failures on the stage may sometimes occur if a part comes too close to painful emotions in the actor's unconscious.

According to Hanns Sachs, the author induces the public to participate in forbidden wishes by their acceptance. The actor feels less guilty if the audience approves of deeds which the actor unconsciously wishes to commit. The actor feels superior if the audience hypnotically accepts what he suggests; but at the same time he needs the audience to get reassurance for his guilt feelings. This is clearly shown by the fact that film actors who forego the end pleasure of the performance are usually longing to go back to the stage. If the actor is successful he has fewer guilt feelings and therefore seeks more direct instinctual gratification which society usually grants him.

The author shows with the aid of case material that the unconscious aim of the magic influence over the audience is not only seduction—to a participation in his guilt—but also the craving for satisfaction of passive oral needs including on occasions destruction or 'castration' of the audience.

The general cause of stage fright can be seen in the 'doubled edged' character of all the psychological mechanisms involved. Instead of participating in his guilt, the audience may turn against the actor. The spec