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Representing the Baby

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Representing the Baby Playing with reality: representing the baby Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Christine Ann Hill Swinburne University of Technology Faculty of Life and Social Sciences 2014 ABSTRACT This thesis – by artefact and exegesis – draws attention to the role the infant plays in our society. It suggests that the complexity and depth of the emotional life of infants is seriously underestimated, putting at risk their mental health. The artefact and exegesis work together to demonstrate and explain the infant’s proclivity for communication and to emphasize the role of the infant as subject, not object, in relation to others. The artefact is an imaginative representation of the infant’s emotional world from the infant’s perspective. Entitled ‘There is no such thing as a baby’ the artefact is presented in two formats – a written play text and an online interactive performance text. The written piece reflects the traditional form of text-based drama, whereas the performance text acknowledges the growing influence of multimedia in the theatre and, by incorporating image and sound, offers the reader a more theatrical experience. The method of practice-led research and research-led practice enables creative writing to share the stage with academic discourse, providing a unique perspective on the mental health of infants and their parents. Multiple connections are made, as writer leads reader across discipline boundaries – infant mental health, poetry, psychoanalysis, dance, neuroscience, theatre, and performance – in search of authentic relationships. The development of creativity and thinking in the infant, in the theatre, and in the writer is evident in the parallels drawn between the dynamics of baby and mother, theatre and audience, and artefact and exegesis. Some associations are not made explicit, leaving the reader to make and discover her or his own. The main purpose of the thesis is to provide a space where the infant can be thought about as a feeling person and a space where a feeling person can think. It shows how one’s early experience of a live, imperfect relationship allows this space to exist, to be shaped, and to be re-discovered. The conclusion presents a paradox with potential, where meaning is in the hands and mind of the reader. ACKNOWLEDGEMENTS This project has a large supporting cast each one of whom I wish to thank sincerely. Special thanks to Lynn Barnett who showed me that by creatively crossing disciplines one can provoke new thoughts. Her work, and her kind encouragement of mine, helped me to see how my embryonic idea could become viable. I am grateful for the professional guidance provided by Dominique Hecq and Stephen Theiler who, together, created the holding environment necessary for the idea to gestate. I want to gratefully acknowledge the early and enduring influence of the late Colin Duckworth who introduced me to the intellectual push of French theatre and the emotional pull of the stage; his always generous encouragement of my endeavours continued to the end. Acknowledgement is also due to the late Graham Little whose intellectual playground of psychoanalysis, poetry and politics combined with his unique personal style to inspire and give confidence to my writing. More recently I have benefitted from the constructive criticism of Raimondo Cortese and the ‘Year of the Play’ writing group at Writers Victoria, and from Rosalind Hollinrake, Karen Corbett, Catherine de Saint, Ann Shenfield, Carol- Anne Croker, and Christine Sinclair, who gave time to advise, encourage, criticize, push, and believe in my project. Grateful acknowledgement is due to Michael Leunig for permission to reproduce his cartoon, ‘Controlled crying’, to Andrew Dyson and Fairfax media for permission to reproduce the cartoon of the tyrant baby, to Michael Cordell for permission to adapt his installation ‘High Anxiety’ and to Anna Molan for permission to use her photograph of that installation, to Claudio Oyarce and plug2 studio for permission to reproduce the photograph of Stelarc, to Isabelle Mathieu for permission to use her YouTube performance of Walter Boudreau’s ‘Valse de l’asile’, to SoundJay (www.soundjay.com), Freesound ( www. freesound.org), and public domain sounds (www.pdsounds.org), for making their sound effects freely available, and to Daniel Green for his assistance with technological aspects of the performance text. I must also acknowledge that the first line from William Shakespeare’s sonnet 18 – ‘Shall I compare thee to a summer’s day?’ – is quoted in both forms of the artefact. Very special thanks to the babies and their parents who allowed me to use their voices and images. I am also grateful to all the babies and parents who have shared their hopes and fears and dreams with me over many years; it has been a privilege. Finally, because ‘Home is where we start from’ (Winnicott 1986), I wish to thank my parents, whose love of a good yarn and playful way with words has created a family of lively and imaginative dreamers who have supported me in myriad ways. To my husband and children, for the feeling and thinking space we share: thank you to the moon. I declare that this work contains no material which has been accepted for the award to me of any other degree or diploma, except where due reference is made in the text of the examinable outcome. To the best of my knowledge this work contains no material previously published or written by another person except where due reference is made in the text of the examinable outcome. ……………………………………………………………………………………. TABLE OF CONTENTS Preface .......................................................................................i Introduction ..............................................................................1 Disclaimer ..................................................................................8 Chapter One: Setting the Scene ...........................................10 Infant mental health ................................................................. 10 The infant in the theatre ........................................................... 13 Psychoanalysis and the theatre ............................................... 18 Methodology ........................................................................... 24 Practice-led research and traditional research ......................... 25 Psychoanalysis ........................................................................ 28 Poetry ...................................................................................... 29 Theatre .................................................................................... 30 Parallel process ....................................................................... 31 Making the baby ....................................................................... 33 Naming the baby ...................................................................... 37 Chapter Two: The Players ..................................................... 40 What capacities do babies have? ............................................ 42 Neuroscience ........................................................................... 43 Sensory perception .................................................................. 43 Making use of sensory perception .......................................... 44 Emotions and feelings .............................................................. 47 Attachment ............................................................................... 49 Projective identification and transference ................................ 53 Play and potential space .......................................................... 55 Art and science ........................................................................ 58 Artefact: THERE IS NO SUCH THING AS A BABY. A play.... 61 Act one .....................................................................................64 Act two ..................................................................................... 75 Act three .................................................................................. 93 Chapter Three: A Place to Play ........................................... 102 On not being able to write and getting lost ............................. 103 Ambivalence and finding our selves ....................................... 107 The location of self ................................................................. 117 The play ................................................................................. 121 Looking for meaning .............................................................. 123 The artefact and the baby ...................................................... 126 Chapter Four: The Rules of the Game ............................... 131 Being ...................................................................................... 132 The spontaneous gesture ...................................................... 133 The brain and the mind .......................................................... 136 Dreaming ............................................................................... 138 Psychic being ......................................................................... 139 Knowing ................................................................................. 142 What does the baby know? .................................................... 143 Technology and relationships ................................................ 146 Conclusion ..........................................................................
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