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Psychoanalysis is comprised of a variety of theories. These include the classical theory with many variations, ego psychology theory, various theories of object relations, self psychology, the theories of Klein, and many others. Analysts who claim that there is little evidence available to support the superiority of one theory over another as well as those who attempt to synthesize theory, often do so without presenting clinical evidence to support their claims. Those who see theories as competing also often disagree in a clinical vacuum. Thus, much of the dialogue relating to theory goes on with little attention given to the specific and profound effects that the belief in any theory must have on technique. Without detailed clinical information one is left to decide the merits of a particular theory in ways which may have little to do with the actual practice of psychoanalysis and more to do with other considerations such as personal values, the character of the analyst and individual or group allegiances. Of course these influences can never be completely eliminated from any important and complex choice. However, whenever detailed clinical material is available in support of theoretical positions it becomes easier to recognize the specific effects of theory on technique and to make reasoned choices.
In Theaters of the Mind Joyce McDougall, a psychoanalyst trained in England and practising in Paris, uses the metaphor of the mind as theatre to dramatize her psychoanalytic thinking. She does this in the hope of avoiding what she believes to be the limiting and derogatory effects of our standard classifications. Although I see little to be gained by the changing of designations, McDougall's theatrical metaphor does add a sense of drama to her theoretical elaborations. In addition to developing many of her own ideas she attempts to show the compatibility of some of the ideas of Freud, Klein, Kernberg, and to a lesser extent members of the English Object-Relati