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1995-First-Phd-Thesis.Pdf 2 I hereby declare that this thesis has not been submitted, either in the same or different form, to this or any other University for a degree. ................................................... 3 PREFACE Whilst this thesis is wholly the original work of the author, there are a number of people whose time and support have been instrumental in bringing it about. Special thanks go to Dan Burningham, for his wisdom, passion and challenge; to Brian Bates, my supervisor, for his continual encouragement and ever-open door; to my parents, Kitty and Charles Cooper, for all their love, support, and care; to my partner, Helen Cruthers, for her help, commitment, and support throughout the workshops, for her critical comments on my draft chapters, for putting up with our mask-covered walls, and for holding me when I was at my lowest, most frightened, ebb. Special thanks also go to John Rowan, for his valuable comments and his book loans; to David Hitchin and James Sanderson, for their computer support; to the Inter-Library Loan department at the University of Sussex, for their dedication, patience and friendliness; to Richard Inskipp, at the Sussex University Multimedia Unit; and, finally, to all my workshop participants and interviewees, for their time, commitment and courage. 4 UNIVERSITY OF SUSSEX Michael Barry Cooper D.Phil FACILITATING THE EXPRESSION OF SUBPERSONALITIES THROUGH THE USE OF MASKS: AN EXPLORATORY STUDY SUMMARY Over recent decades, polypsychic models—in which the mind is conceptualised as a cluster of ‘subpersonalities’—have achieved increasing prominence in a variety of psychological fields. With these theoretical developments, however, has come a growing need to find methods whereby these subpersonalities—often at an unconscious or ‘covert’ level of functioning—can be brought to the light of consciousness. The purpose of this thesis is to explore the mask’s potential to fulfil this function, to examine the types of subpersonalities and contexts with which it might be most effective, and to investigate the psychological processes that may underlie these qualities. The thesis begins by introducing the concept of the mask and establishes the study’s methodological foundations: exploratory, predominantly humanistic, and predominantly qualitative. The polypsychic model is then outlined, and substantiated through a review of empirical and observational material. The thesis goes on to review current techniques for facilitating the expression of subpersonalities, and argues that they operate by ‘hooking’ the subpersonality with one element of the subpersonality- complex. The following chapter reviews the psychology of the face, and argues that the face—and hence the mask—has the potential to function as a powerful subpersonality-hook. This hypothesis is then illustrated through six literary examples; and subsequently explored through four cross-cultural case studies of ritual and ceremony, focused interviews with mask-using therapists and personal growth facilitators, and a controlled experimental study. From this research it is concluded that the mask has the potential to act as a powerful means of facilitating the expression of subpersonalities, and may be particularly effective at bringing up the ‘deeper’ and more disowned aspects of the psyche: shadow, vulnerable child, critical parent, and ‘naughty child’. It is also concluded that the mask is a highly versatile tool, particularly suited to interactive contexts. 5 CONTENTS DECLARATION 2 PREFACE 3 SUMMARY 4 CONTENTS 5 ILLUSTRATIONS 8 TABLES 9 DIAGRAMS 10 CHAPTER 1. INTRODUCTION 11 1.1 AIMS 11 1.2 THE MASK 12 1.3 METHODOLOGY 14 1.4 OUTLINE 18 CHAPTER 2. POLYPSYCHISM AND SUBPERSONALITIES: A REVIEW 20 2.1 INTRODUCTION 20 2.2 PSYCHOTHERAPY 22 2.3 HYPNOSIS 31 2.4 DISSOCIATED IDENTITY DISORDER (D. I. D.) 34 2.5 POSSESSION 37 2.6 SOCIAL PSYCHOLOGY 39 2.7 NEUROPSYCHOLOGY 43 2.8 CONCLUSION 44 CHAPTER 3. FACILITATING THE EXPRESSION OF SUBPERSONALITIES: A REVIEW AND ANALYSIS OF TECHNIQUES 46 3.1 INTRODUCTION 46 3.2 DESCRIPTIVE/ANALYTICAL TECHNIQUES 47 3.3 PROJECTIVE TECHNIQUES 49 3.4 EXPERIENTIAL TECHNIQUES 52 3.5 THE PSYCHOLOGY OF FACILITATING THE EXPRESSION OF SUBPERSONALITIES 55 3.6 CONCLUSION 58 CHAPTER 4. USING THE FACE AND MASK TO FACILITATE THE EXPRESSION OF SUBPERSONALITIES: A REVIEW AND ANALYSIS 59 4.1 INTRODUCTION 59 4.2 THE SIGNIFICANCE OF THE FACE 59 4.2.1 Facial expressions 60 4.2.2 Perceiving faces 62 4.2.3 The facial feedback effect 66 4.2.4 Face and subpersonality 70 4.3 MASK AND SUBPERSONALITY 72 4.3.1 Mask and feedback 73 4.3.2 Disguise 73 4.3.3 Plasticity 76 6 4.3.4 Fixidity 76 4.3.5 Metaphorical value 77 4.4 CONCLUSION 77 CHAPTER 5. MASK AND SUBPERSONALITY IN LITERATURE: SIX ILLUSTRATIVE EXAMPLES 78 5.1 INTRODUCTION 78 5.2 AT THE HAWK’S WELL, W. B. YEATS 79 5.3 THE BLACK MASKERS, LEONID ANDREYEV 81 5.4 THE GREAT GOD BROWN, EUGENE O’NEILL 83 5.5 THE HAPPY HYPOCRITE, MAX BEERBOHM 86 5.6 BATMAN 89 5.7 THE MASK 91 5.8 CONCLUSION 93 CHAPTER 6. MASK AND SUBPERSONALITY IN RITUAL AND CEREMONY: FOUR CASE-STUDIES 95 6.1 INTRODUCTION 95 6.2 MASKS OF THE SINGHALESE, SRI LANKA 98 6.3 MASKS OF THE MANDE-SPEAKING TRIBES, NORTH-EAST LIBERIA 103 6.4 MASKS OF THE ZUNI, NEW MEXICO 107 6.5 MASKS OF THE BALINESE, INDONESIA 111 6.6 DISCUSSION 115 6.7 CONCLUSION 121 CHAPTER 7. MASK AND SUBPERSONALITY IN THERAPY AND PERSONAL GROWTH: FOCUSED INTERVIEWS WITH PRACTITIONERS 123 7.1 INTRODUCTION 123 7.2 METHOD 127 7.2.1 Interviews 127 7.2.2 Interviewees 129 7.2.3 Analysis 130 7.3 RESULTS 130 7.3.1 Can the mask facilitate the expression of subpersonalities? 130 7.3.2 In what conditions, if any, might the mask be most effective at facilitating the expression of subpersonalities? 132 7.3.2.1 Mask-visualisations 132 7.3.2.2 Mask-making 133 7.3.2.3 Mask-wearing 134 7.3.2.4 Mask-observation 137 7.3.3 What type of subpersonalities, if any, might the mask be most effective at facilitating the expression of? 139 7.3.4 Why might the mask facilitate the expression of subpersonalities, or why might it be particularly effective at facilitating the expression of certain subpersonalities, and in certain conditions? 142 7.3.4.1 Dramatic distancing 142 7.3.4.2 The ‘power’ of the mask 142 7.3.4.3 Focus on bodily expression 143 7.3.4.4 Fixidity 144 7.3.4.5 Physical effects 144 7.3.4.6 Metaphorical value 144 7.3.4.7 Distance for Practitioner 145 7.4 DISCUSSION 145 7.5 CONCLUSION 147 CHAPTER 8. MASK AND SUBPERSONALITY: AN EXPERIMENTAL STUDY 149 8.1 INTRODUCTION 149 8.2 PILOT STUDIES 149 8.3 MAIN STUDY 155 8.3.1 Method 155 8.3.1.1 Aims 155 7 8.3.1.2 Independent variables 156 8.3.1.3 Procedure 157 8.3.1.3 Dependent variables 158 8.3.1.4 Participants 159 8.3.2 Results 160 8.3.2.1 Can the mask facilitate the expression of subpersonalities? 160 8.3.2.2 What subpersonalities, if any, might the mask be most effective at facilitating the expression of? 161 8.3.2.3 What other differences exist, if any, between masked and non-masked conditions? 163 8.3.3 Discussion 166 8.3.3.1 Can the mask facilitate the expression of subpersonalities? 166 8.3.3.2 What subpersonalities, if any, might the mask be most effective at facilitating the expression of? 168 8.3.3.3 What other differences exist, if any, between the masked and non-masked conditions? 172 8.3.3.4 Further research 173 8.4 CONCLUSION 175 CHAPTER 9. CONCLUSION 176 9.1 OVERVIEW 176 9.2 CAN THE MASK FACILITATE THE EXPRESSION OF SUBPERSONALITIES? 176 9.3 WHAT TYPE OF SUBPERSONALITIES, IF ANY, MIGHT THE MASK BE MOST EFFECTIVE AT FACILITATING THE EXPRESSION OF? 177 9.4 IN WHAT CONDITIONS, IF ANY, MIGHT THE MASK BE MOST EFFECTIVE AT FACILITATING THE EXPRESSION OF SUBPERSONALITIES? 179 9.5 WHY MIGHT THE MASK FACILITATE THE EXPRESSION OF SUBPERSONALITIES, OR WHY MIGHT IT BE PARTICULARLY EFFECTIVE AT FACILITATING THE EXPRESSION OF CERTAIN SUBPERSONALITIES, AND IN CERTAIN CONTEXTS? 179 9.5 POTENTIAL THERAPEUTIC DEVELOPMENTS 181 9.6 FURTHER RESEARCH 183 9.6 CONCLUSION 185 BIBLIOGRAPHY 186 APPENDIX 1 203 8 ILLUSTRATIONS Cover: Image from Identity, Mask, and Photography Workshop, Insight Arts Trust ............................ 1 Illustration 1: Scene from At the Hawk’s Well, The Abbey Theatre, Dublin, Ireland 1978, (from Smith, 1984) ................................................................................................................................. 80 Illustration 2: Scene from The Great God Brown, Greenwich Village Theatre Production, (from Smith, 1984) ................................................................................................................................. 80 Illustration 3: A pseudo-psychiatrist attempts to convince Bruce Wayne of his dissociative disorder, Mask (Talbot, 1992) ..................................................................................................................... 90 Illustration 4: The masking of Batman, Shaman, Book 1 (O’Neill, 1989) ........................................... 90 Illustration 5: Two-Face, (from Barr and Staton, 1993) ....................................................................... 90 Illustration 6: The Joker, (from Moore, 1988) ...................................................................................... 90 Illustration 7: The masking of Stanley Ipkiss. The Mask (Arcudi and Mahnke, 1993) ........................ 93 Illustration 8: Mask of sanni demon, (from Lommel, 1972) .............................................................. 101 Illustration 9: Mask of sanni demon, (from Goonatilleka, 1978) ....................................................... 101 Illustration
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