دنیای درون، جهان بیرون: نظریه های روابط ابژه و روان نمایشی

by Paul Holmes, بهزاد صادقیان فرد (مترجم), مرتضی نقی پور (مترجم)

چاپ اول دنیای درون، جهان بیرون به سال 1993 بر می‌گردد و از آن زمان تاکنون یکی از برجسته‌ترین کتاب‌ها در زمینۀ خودش بوده است. پل هولمز از طرفی خواننده را به «دنیای درون» روابط ابژه می‌برد و از طرف دیگر او را به «جهان بیرونی» هدایت می‌کند که در آن روابط واقعی مشترک بین افراد وجود دارد. پل هولمز توانسته است به‌عنوان روان‌درمان‌گری که در حوزه‌های روان‌تحلیلی و روان‌نمایشی آموزش دیده است مقدمه‌ای واضح و آموزنده در خصوص روابط ابژه و ارتباط آن با رویکرد روان‌نمایشی به رشتۀ تحریر در آورد. او به جستجوی رابطۀ بین نظریات جی. ال. مورنو، پایه‌گذار رویکرد روان‌نمایشی، و زیگموند فروید، بنیان‌گذار رویکرد روان‌تحلیلگری، پرداخته و ترکیبی گیرا از این دو ارائه کرده است. هر فصل با گزارشی از یک جلسۀ روان‌نمایشی آغاز می‌شود و بر ابعاد خاصی از نظریات روان‌نمایشی و روابط ابژه تأکید می‌کند. این گزارش‌ها به درک مفاهیم و فنون کمک می‌کنند و با استفاده از محتوای درمانی گروه‌ها به‌طور عملی به توضیح مفاهیم بنیادین روان‌تحلیلی می‌پردازند.
نویسنده در این چاپ با مقدمه‌ای جدید به مفاهیم نظریۀ دلبستگی می‌پردازد. این کتاب مفاهیم گوناگون را به شکلی منسجم و گیرا به هم پیوند می‌دهد؛ متخصصان حوزۀ سلامت روان و هنر‌درمانی و همچنین دانشجویان روان‌شناسی می‌توانند هم در دورۀ آموزش و هم طی فعالیت حرفه‌ای‌شان از این کتاب بهره بگیرند.

Genres: Psychology

340 pages, Paperback

First published August 20, 1992

Reviews

[Behzad · Rating 4 out of 5]

Critique of Freudian psychoanalysis: the psychoanalyst as a deity condescending to look upon the patient,
instead, the specialist in psychodrama enters a stage with the patients where everyone (including the specialist him/her self) will find the opportunity to live through their problematic moments and experience them one more time, in a more constructive fashion.

[xenia · Rating 4 out of 5]

This book rules.

So:
Object relations = inner world
Psychodrama = outer world

Connected through:
Inner world - (role) - outer world

Whose consequence is:
Psychology - sociology

I used to see object-relations as a psyop by Freudians to set psychotherapy back another fifty years, but it's actually very compatible with attachment theory, and by coupling it to psychodrama it almost resembles dissociation-based theories of trauma.

So, the inner world is full of object-relations, not drives. It is a depository of past interactions, generalised rules for present engagements (there is no outside transference, but there are healthier ways of engaging with it). The unconscious isn't so much inaccessible as unformulated, a space where contradictory desires are stamped down so that important social relations aren't lost (if I get angry at mommy, she'll leave me, etc).

Psychodrama is the enactment of this inner world, through oneself and the auxiliary egos of the stage (the other members of the group), beginning in the present (a conflict at work, for example), then slowly connecting this conflict (object-relation) to previous encounters, ending at the the foundational trauma that created the object-relation.

We repeat the past because we're terrified of losing an important social relation of care, love, respect, etc, in the present. While this may have once been adaptive for our survival, it is now maladaptive, creating the very issue we're trying to avoid.

So, psychodrama is cool af, because it anticipates ego state therapy, internal family systems therapy, and dissociation-informed therapy. Each participant can act as a part of an object-relation, switching on the fly with the protagonist (the analysand in psychoanalysis terms), so that the protagonist experiences things from the other side; heck, participants can even play a younger version of the protagonist (a part from the internal family system!), putting different parts into dialogue with one another through an embodied and collective process of dramatic enactment. Rather than interpret meaning, participants reenact meaning in a lively and felt way.

The psychodramatic stage is a holding environment, a space for objectifying the parts of one's psyche that would alone be too overwhelming to face. It's a form of art therapy, a distancing through the illusion of play, yet it's also a form of somatic therapy, bringing dead relations back to life through sensations and affects; lastly, it's dialogic, showing that transformation requires otherness, sociality, and play.

The example that Holmes uses throughout his book concerns a mild-mannered guy who feels abandoned by his boss, but cannot bring himself to get angry at him. The play begins here, with a reenactment of the scene, of how he wished it went, and so forth. Holmes then guides the man to earlier iterations with his previous bosses, whom he felt similarly about. Eventually, we reach his father, a divorcee who always promised to visit his son, but was barred by both the mother and his own workload. This object-relation was mirrored in the man's relations with his subsequent bosses, but not his inability to express his anger. The drama then turned to his mother, who he loved and hated as a child, for taking care of him and driving his father away. Being his only caretaker, he buried his hatred towards her and lost the capacity to express anger to those he desired care from. Interestingly, Holmes shows that its only when the psychodrama splits his mother in two, into 1) the loved mother, and 2) the hated mother, that the man can express his anger and resolve the conflict. In other words, resolution arrived through the unblending of parts once merged and dissociated. While this is an idealised scenario, it shows how psychodrama can weave together the present and the past into a narrativisable whole, in a manner conducive to parts-based therapies.

There's other cool shit about transference, internalisation, integration, spontaneity, splitting, projection, transitional objects, and the like, but I've said all I wanted to say while avoiding as much Freud as possible ;)

[Atiyeh · Rating 5 out of 5]

Paul Holmes’ *The Inner World Outside* is a compelling exploration of how object relations theory can be applied within the framework of psychodrama. Holmes bridges the gap between psychoanalytic thought and action-based therapy, offering a fresh perspective on how individuals internalize relationships and project them onto their external world.

One of the book’s strengths is its clear and structured approach to integrating these two psychological models. Holmes presents object relations theory—rooted in the work of Melanie Klein, Donald Winnicott, and others—and demonstrates how its concepts can be brought to life through psychodrama. The idea that our internalized relationships shape our interactions is not new, but Holmes’ application of this to psychodrama makes for an engaging and practical discussion.

The book is particularly useful for therapists, counselors, and those interested in psychodrama or psychoanalysis. Holmes provides insightful case studies and examples, illustrating how psychodramatic techniques can help individuals explore and reconstruct their inner worlds. His writing is accessible, making complex psychological ideas digestible for both professionals and those with a general interest in psychotherapy.

That said, the book may feel somewhat theoretical for readers looking for a more hands-on guide to psychodrama techniques. While it provides a solid theoretical foundation, some may wish for more step-by-step guidance on applying the concepts in practice.

Overall, *The Inner World Outside* is a valuable contribution to the field, offering a unique synthesis of two powerful psychological approaches. Holmes successfully demonstrates how psychodrama can serve as a bridge between inner and outer realities, making this book a must-read for those interested in deepening their understanding of therapeutic techniques and human relationships.