英文原文
For directors, guiding actors to convey subtext is a delicate and often elusive art. One approach that can offer profound insight into this process is Transactional Analysis (TA), a psychological framework developed by Dr. Eric Berne in the late 1950s. TA's principles can be employed to deepen the relational dynamics between characters, providing actors with a powerful tool to explore and express the underlying psychological currents driving their actions. In this article, we will explore how directors can apply TA in performance direction, using examples from independent films where these ideas have been effectively harnessed to create richer, more complex narratives.
Transactional Analysis is a theory of psychology that examines the interactions (transactions) between individuals. Berne’s theory is built around the idea that every person has three ego states: Parent, Adult, and Child. These states represent different ways of thinking, feeling, and behaving: Parent Ego State reflects behaviors, thoughts, and feelings copied from authority figures, often manifesting as nurturing or critical attitudes. Adult Ego State is rational, objective, and centered in the here-and-now, processing information and making decisions based on reality. Child Ego State reflects the emotional responses and behaviors learned from early childhood, which can be either spontaneous and creative or adapted to please or avoid conflict.
Due to our transactional nature, one person's ego state will trigger a corresponding ego state in another, leading to predictable patterns of interaction. For example, if someone communicates from a Parent ego state (e.g. being critical or authoritative), it often prompts the other person to respond from a Child ego state, either complying (Adaptive Child) or rebelling (Rebellious Child). Conversely, when a person initiates an exchange from a Child ego state, they might display behaviors like seeking attention, being playful, or acting out emotionally. For instance, if someone begins by expressing vulnerability or whining (Child ego state), it can prompt the other person to respond from a Parent ego state, either offering comfort (Nurturing Parent) or expressing frustration (Critical Parent).
Understanding these ego states and how they interact—especially how they engage in complementary or crossed transactions—can provide a director with invaluable insight into character dynamics. By guiding actors to explore these dimensions in their performances, directors can imbue their films with a deeper level of subtextual meaning, allowing audiences to engage with the psychological tensions that drive the narrative.
A director can employ TA at various stages of film production, from script analysis and character development to the rehearsal process and on-set direction. Here’s how these ideas can be practically applied.
During pre-production, a director can analyze the script through the lens of TA to identify the predominant ego states of each character. By mapping out which ego state a character primarily operates from in different scenes - and/or in relation to which other characters - the director can start to build a psychological profile that informs the performance.
For example, in the independent film Winter’s Bone (2010), directed by Debra Granik, the protagonist, Ree Dolly, is often operating from her Adult ego state. Faced with the harsh realities of life in a rural, economically deprived area, Ree is forced to make rational, survival-based decisions. However, her interactions with other characters—such as her fragile mother, who is trapped in a regressive Child state—highlight the tension between her Adult pragmatism and the Child-like vulnerabilities of those around her. By identifying these ego states, Granik is able to guide Jennifer Lawrence’s performance to reflect the psychological burden Ree carries, not just in her words but in the subtext of her interactions. Ree, a child herself, has not taken on the adult role by choice. The internal conflict between TA states creates a richness to character that a director can explore with her actors.
In rehearsal, the director can use TA to explore the transactions between characters. By experimenting with different ego-state interactions, actors can discover the underlying motivations and tensions that may not be immediately apparent in the dialogue. It also opens up layered interactions between characters as their differing TA states interact beneath the surface.
For instance, in the film Blue Valentine (2010), directed by Derek Cianfrance, the relationship between the two leads is steeped in unspoken psychological conflict. The film oscillates between the initial stages of their romance and the later, deteriorating marriage. During rehearsals, Cianfrance encouraged actors Ryan Gosling and Michelle Williams to explore how their characters’ ego states shift over time. Early in the relationship, Gosling’s character often engages from a Child state—playful, spontaneous, and seeking approval—while Williams’ character responds from a Nurturing Parent state, offering care and validation. As the relationship sours, their transactions become increasingly crossed, with each character slipping into a Critical Parent or Adapted Child state, leading to misunderstandings and emotional alienation. These shifting ego states create a rich subtext, where the surface-level dialogue belies the deeper psychological rifts growing between them.
On set, directors can use their understanding of TA to provide actors with specific direction that enhances the subtext of a scene. By guiding actors to subtly shift between ego states within a single scene, the director can create a layered performance that resonates with authenticity and complexity.
Specifically, you could use TA related As Ifs to guide your actors: “Play the beat as if you are a vulnerable child trying to gain comfort from a distant parent” ”When speaking to X consider playing it as if you are a contemptuous parent trying to bully a weak child into being stronger.”
Consider the film Her (2013), directed by Spike Jonze. The protagonist, Theodore, often vacillates between different ego states in his interactions with the AI, Samantha. In scenes where Theodore is lonely and seeking connection, he operates from a Child state, displaying vulnerability and a desire for unconditional acceptance. Samantha, in turn, oscillates between a Nurturing Parent state, offering comfort and understanding, and an Adult state, processing information and guiding the conversation in a logical manner. Jonze’s direction, which likely included discussions around these transactional dynamics, ensures that these subtle shifts are felt by the audience, even if they are not overtly discussed. The result is a film rich in psychological subtext, exploring themes of love, identity, and the human condition through the lens of TA.
In the film Martha Marcy May Marlene (2011), directed by Sean Durkin, the psychological power dynamics between the characters are central to the narrative. The film follows Martha, a young woman who escapes from a cult but struggles to reintegrate into normal life. Durkin uses TA to highlight the manipulative transactions between Martha and the cult leader, Patrick. Patrick frequently engages from a Critical Parent state, exerting control and dominance, while Martha, initially in a fearful Child state, gradually adapts to a submissive role, seeking approval and safety. These ego state interactions are carefully orchestrated by Durkin to convey the psychological manipulation and control that pervade the cult environment. By understanding these dynamics, the actors deliver performances that communicate the subtext of coercion and psychological abuse, adding depth to the narrative without relying on explicit exposition.
In the 2018 film Hereditary, the dinner scene is a pivotal moment where deep-seated family tensions come to the surface. Transactional Analysis (TA) provides a framework to understand the underlying dynamics and psychological subtext in this scene, particularly the interplay between the different ego states of the characters. In the dinner scene, Annie (the mother) unleashes her pent-up anger and grief on her son, Peter, while Steve (the father) tries to maintain peace. The scene is tense, emotional, and charged with unresolved issues.
Applying TA to Hereditary: 1. Ego States: Annie (Parent Ego State, Critic): Annie is in a highly Critical Parent ego state, directing her anger and blame towards Peter. Her harsh tone and body language indicate that she is operating from a place of judgment and authority, lashing out in an attempt to control or assert dominance over Peter. This state is driven by her grief and unresolved feelings of guilt, which she projects onto her son. Peter (Child Ego State, Adaptive/Rebellious): Peter, in response, fluctuates between the Adaptive Child ego state and the Rebellious Child ego state. Initially, he is subdued, trying to endure his mother’s wrath (Adaptive Child), but he eventually pushes back, displaying frustration and defiance (Rebellious Child). His guilt and fear are palpable, but so is his resistance to being completely dominated by his mother. Steve (Adult Ego State): Steve tries to remain in the Adult ego state, attempting to mediate and de-escalate the situation. He is the voice of reason, trying to bring the conversation back to a calm, rational place. However, his efforts are largely ineffective, as the intensity of Annie's Parent ego state and Peter’s reactive Child state overwhelms his attempts at maintaining balance. 2. Transactional Dynamics: The scene highlights a crossed transaction, where Annie’s Critical Parent state triggers Peter’s defensive Child state. Instead of engaging with Steve’s Adult ego state, which seeks to defuse the situation, Annie and Peter are locked in a Parent-Child conflict that exacerbates the emotional tension. This dynamic is crucial to the scene's emotional impact, as it illustrates how deeply entrenched the family’s dysfunction is. The inability of the characters to engage with each other on an Adult-to-Adult level (where rational, constructive dialogue could take place) underlines the tragic nature of their relationships. 3. Subtext and Psychological Depth: The use of TA in understanding this scene reveals the subtext of unspoken blame, guilt, and grief. Annie’s criticism of Peter is not just about the immediate situation but is rooted in deeper issues of loss and unresolved trauma. Peter’s rebellion is not merely defiance; it’s a reaction to the overwhelming burden of guilt he feels, which is compounded by his mother’s blame. Steve’s futile attempts to maintain calm reflect his disconnection from the emotional turmoil of his wife and son, suggesting a breakdown in communication and emotional support within the family.
Transactional Analysis helps to unpack the layers of psychological tension in this scene, providing insight into why the characters behave the way they do and how their interactions contribute to the overall atmosphere of dread and inevitability that pervades Hereditary. By understanding the ego states and transactions at play, a director can guide actors to deliver performances that resonate with the complex emotional landscape of the characters, enhancing the scene’s impact.
Transactional Analysis offers directors a sophisticated framework for understanding and guiding the psychological interactions between characters. By applying TA in the script analysis, rehearsal, and on-set direction stages, directors can help actors discover and express the subtextual layers of their performances. This approach not only enhances the emotional and psychological depth of a film but also engages the audience on a more profound level, inviting them to explore the complex inner lives of the characters.
In the films discussed, we see how TA can be used to explore power dynamics, emotional wounds, and the shifting psychological states that drive human behavior. These films exemplify how the application of TA can elevate storytelling, creating narratives rich in subtext and psychological complexity. For directors, embracing TA is not just about adding another tool to their kit; it’s about deepening their understanding of human interaction, enabling them to tell stories that resonate with authenticity and emotional truth.
中文翻译
对于导演来说，指导演员传达潜台词是一门微妙且常常难以捉摸的艺术。一种能为这一过程提供深刻见解的方法是沟通分析心理学（TA），这是由埃里克·伯恩博士在20世纪50年代末开发的心理框架。TA的原则可以用来深化角色之间的关系动态，为演员提供一个强大的工具来探索和表达驱动他们行为的潜在心理流。在本文中，我们将探讨导演如何在表演指导中应用TA，使用独立电影中的例子，这些电影有效地利用了这些想法来创造更丰富、更复杂的叙事。
沟通分析心理学是一种研究个体之间互动（交易）的心理学理论。伯恩的理论基于每个人都有三种自我状态：父母、成人和儿童。这些状态代表了不同的思考、感受和行为方式：父母自我状态反映了从权威人物那里复制来的行为、思想和感受，通常表现为养育或批评的态度。成人自我状态是理性、客观的，以当下为中心，基于现实处理信息和做出决策。儿童自我状态反映了从童年早期学到的情感反应和行为，可以是自发和创造性的，也可以是适应性的以取悦或避免冲突。
由于我们的交易性质，一个人的自我状态会触发另一个人的相应自我状态，导致可预测的互动模式。例如，如果某人从父母自我状态进行沟通（例如批评或权威），通常会促使对方从儿童自我状态回应，要么顺从（适应性儿童），要么反抗（叛逆性儿童）。相反，当一个人从儿童自我状态发起交流时，他们可能会表现出寻求关注、玩耍或情感发泄等行为。例如，如果某人以表达脆弱或抱怨（儿童自我状态）开始，可能会促使对方从父母自我状态回应，要么提供安慰（养育型父母），要么表达沮丧（批评型父母）。
理解这些自我状态以及它们如何互动——尤其是它们如何参与互补或交叉交易——可以为导演提供对角色动态的宝贵见解。通过指导演员在表演中探索这些维度，导演可以为电影注入更深层次的潜台词意义，让观众参与到驱动叙事的心理张力中。
导演可以在电影制作的各个阶段使用TA，从剧本分析和角色发展到排练过程和现场指导。以下是这些想法如何实际应用。
在前期制作期间，导演可以通过TA的视角分析剧本，以识别每个角色的主要自我状态。通过绘制角色在不同场景中主要从哪种自我状态运作——以及/或与哪些其他角色相关——导演可以开始构建一个心理档案，为表演提供信息。
例如，在黛布拉·格兰尼克执导的独立电影《冬天的骨头》（2010年）中，主角Ree Dolly经常从她的成人自我状态运作。面对农村经济贫困地区的严酷现实，Ree被迫做出理性、基于生存的决策。然而，她与其他角色的互动——比如她脆弱的母亲，被困在退行的儿童状态中——突显了她的成人实用主义与周围人儿童般脆弱之间的张力。通过识别这些自我状态，格兰尼克能够指导詹妮弗·劳伦斯的表演，以反映Ree所承受的心理负担，不仅在她的言语中，还在她互动的潜台词中。Ree自己还是个孩子，并非自愿承担成人角色。TA状态之间的内部冲突为角色创造了丰富性，导演可以与演员一起探索。
在排练中，导演可以使用TA来探索角色之间的交易。通过尝试不同的自我状态互动，演员可以发现可能不会在对话中立即显现的潜在动机和张力。它还开启了角色之间分层的互动，因为它们不同的TA状态在表面下相互作用。
例如，在德里克·斯安弗朗斯执导的电影《蓝色情人节》（2010年）中，两位主角之间的关系充满了未言明的心理冲突。电影在他们恋爱的初始阶段和后来恶化的婚姻之间摇摆。在排练期间，斯安弗朗斯鼓励演员瑞恩·高斯林和米歇尔·威廉姆斯探索他们角色的自我状态如何随时间变化。在关系早期，高斯林的角色经常从儿童状态参与——玩耍、自发、寻求认可——而威廉姆斯的角色从养育型父母状态回应，提供关怀和确认。随着关系恶化，他们的交易变得越来越交叉，每个角色都滑入批评型父母或适应性儿童状态，导致误解和情感疏离。这些变化的自我状态创造了丰富的潜台词，表面上的对话掩盖了它们之间日益增长的心理裂痕。
在现场，导演可以利用他们对TA的理解为演员提供具体指导，以增强场景的潜台词。通过指导演员在单个场景中微妙地在自我状态之间切换，导演可以创造一种层次丰富的表演，与真实性和复杂性产生共鸣。
具体来说，你可以使用TA相关的“假设”来指导你的演员：“把这个节拍演得好像你是一个脆弱的孩子，试图从一个疏远的父母那里获得安慰”“当对X说话时，考虑演得好像你是一个轻蔑的父母，试图欺负一个软弱的孩子变得更强壮。”
考虑斯派克·琼斯执导的电影《她》（2013年）。主角Theodore在他与AI Samantha的互动中经常在不同自我状态之间摇摆。在Theodore孤独并寻求连接的场景中，他从儿童状态运作，表现出脆弱和对无条件接纳的渴望。Samantha则在养育型父母状态和成人状态之间摇摆，提供安慰和理解，并以逻辑方式处理信息和引导对话。琼斯的方向可能包括围绕这些交易动态的讨论，确保这些微妙的变化被观众感受到，即使它们没有被公开讨论。结果是一部充满心理潜台词的电影，通过TA的镜头探索爱、身份和人类状况的主题。
在肖恩·德金执导的电影《玛莎·玛西·梅·玛琳》（2011年）中，角色之间的心理权力动态是叙事的核心。电影讲述了Martha，一个逃离邪教但难以重新融入正常生活的年轻女性。德金使用TA来突显Martha和邪教领袖Patrick之间的操纵性交易。Patrick经常从批评型父母状态参与，施加控制和支配，而Martha最初处于恐惧的儿童状态，逐渐适应顺从角色，寻求认可和安全。这些自我状态互动由德金精心编排，以传达弥漫在邪教环境中的心理操纵和控制。通过理解这些动态，演员们提供了传达胁迫和心理虐待潜台词的表演，为叙事增添了深度，而不依赖明确的阐述。
在2018年的电影《遗传厄运》中，晚餐场景是一个关键时刻，深层的家庭紧张关系浮出水面。沟通分析心理学（TA）提供了一个框架来理解这个场景中的潜在动态和心理潜台词，特别是角色不同自我状态之间的相互作用。在晚餐场景中，Annie（母亲）将她压抑的愤怒和悲伤发泄在儿子Peter身上，而Steve（父亲）试图维持和平。场景紧张、情感化，充满了未解决的问题。
将TA应用于《遗传厄运》：1. 自我状态：Annie（父母自我状态，批评者）：Annie处于高度批评型父母自我状态，将她的愤怒和责备指向Peter。她严厉的语气和肢体语言表明她从一个评判和权威的地方运作，猛烈抨击以试图控制或主张对Peter的支配。这种状态是由她的悲伤和未解决的内疚感驱动的，她将这些投射到儿子身上。Peter（儿童自我状态，适应性/叛逆性）：Peter在回应中在适应性儿童自我状态和叛逆性儿童自我状态之间波动。最初，他顺从，试图忍受母亲的愤怒（适应性儿童），但最终反击，表现出沮丧和反抗（叛逆性儿童）。他的内疚和恐惧是明显的，但他对完全被母亲支配的抵抗也是如此。Steve（成人自我状态）：Steve试图保持在成人自我状态，试图调解和缓和局势。他是理性的声音，试图将对话带回一个平静、理性的地方。然而，他的努力在很大程度上无效，因为Annie的父母自我状态和Peter的反应性儿童状态的强度压倒了他维持平衡的尝试。2. 交易动态：场景突显了一个交叉交易，Annie的批评型父母状态触发了Peter的防御性儿童状态。Annie和Peter没有与Steve的成人自我状态互动，后者试图缓和局势，而是陷入父母-儿童冲突，加剧了情感张力。这种动态对场景的情感影响至关重要，因为它说明了家庭功能障碍的根深蒂固。角色无法在成人对成人层面（可以进行理性、建设性对话的地方）相互互动，突显了他们关系的悲剧性。3. 潜台词和心理深度：使用TA来理解这个场景揭示了未言明的责备、内疚和悲伤的潜台词。Annie对Peter的批评不仅仅是关于当前情况，而是植根于更深层次的失落和未解决的创伤问题。Peter的反抗不仅仅是反抗；这是对他感受到的压倒性内疚负担的反应，这种负担因母亲的责备而加剧。Steve维持平静的徒劳尝试反映了他与妻子和儿子情感动荡的脱节，暗示了家庭内部沟通和情感支持的崩溃。
沟通分析心理学有助于解开这个场景中的心理张力层，提供洞察力，解释角色为什么以这种方式行为，以及他们的互动如何促成弥漫在《遗传厄运》中的恐惧和必然性氛围。通过理解起作用的自我状态和交易，导演可以指导演员提供与角色复杂情感景观产生共鸣的表演，增强场景的影响。
沟通分析心理学为导演提供了一个复杂的框架来理解和指导角色之间的心理互动。通过在剧本分析、排练和现场指导阶段应用TA，导演可以帮助演员发现和表达他们表演的潜台词层。这种方法不仅增强了电影的情感和心理深度，还在更深层次上吸引观众，邀请他们探索角色复杂的内心生活。
在讨论的电影中，我们看到TA如何被用来探索权力动态、情感创伤以及驱动人类行为的心理状态变化。这些电影例证了TA的应用如何提升叙事，创造充满潜台词和心理复杂性的故事。对于导演来说，拥抱TA不仅仅是增加另一个工具到他们的工具箱；它是深化对人类互动的理解，使他们能够讲述与真实性和情感真相产生共鸣的故事。
文章概要
本文探讨了沟通分析心理学（TA）在电影导演中的应用，特别是如何利用TA理论指导演员表演，以增强角色心理深度和叙事潜台词。文章以独立电影为例，如《冬天的骨头》《蓝色情人节》《她》《玛莎·玛西·梅·玛琳》和《遗传厄运》，详细说明了导演如何在剧本分析、排练和现场指导阶段运用TA的自我状态（父母、成人、儿童）和交易动态来塑造角色互动。重点强调了成人自我状态在电影批评中的角色，展示了TA如何帮助导演揭示角色内在冲突、权力关系和情感张力，从而创造更丰富、更复杂的叙事效果。
高德明老师的评价
用12岁初中生可以听懂的语音来重复翻译的内容：这篇文章讲的是电影导演怎么用沟通分析心理学来帮助演员演得更好。沟通分析心理学就像是一个游戏规则，说每个人心里都有三个角色：父母、成人和儿童。父母角色像大人一样，可能会批评或照顾别人；成人角色很冷静，会理性思考；儿童角色像小孩，可能会玩耍或闹情绪。导演用这些角色来指导演员，比如在电影《冬天的骨头》里，主角Ree经常用成人角色做决定，但她的妈妈像小孩一样脆弱，这让故事更有意思。通过这样，电影能讲出更多隐藏的故事，让观众感受到角色的内心世界。
TA沟通分析心理学理论评价：从沟通分析心理学理论来看，这篇文章展示了TA在艺术创作中的强大应用。TA的核心概念——自我状态和交易——被有效地用于解析和指导电影表演，这体现了TA理论的实用性和跨领域适应性。文章通过具体电影案例，如《遗传厄运》中的家庭冲突，突显了TA如何揭示角色间的心理动态，例如父母自我状态与儿童自我状态的交叉交易导致情感张力。这种应用不仅强化了叙事深度，还验证了TA在理解人类互动模式方面的有效性。TA理论在这里被用作一个框架，帮助导演和演员探索角色的潜意识动机，从而提升表演的真实性和情感共鸣，这符合TA强调的“人生脚本”和“游戏”概念，即人们的行为模式源于早期经验，并可通过意识调整来改变。
在实践上可以应用的领域和可以解决人们的十个问题：在实践上，TA可以应用于多个领域，如电影制作、戏剧表演、心理咨询、教育培训和团队管理。基于文章内容，TA可以帮助解决人们的十个问题：1. 在电影导演中，指导演员更准确地表达角色心理，提升表演质量；2. 在心理咨询中，帮助个体识别自我状态，改善人际关系；3. 在教育培训中，教师可以用TA理解学生行为，优化教学方法；4. 在团队管理中，领导者应用TA促进有效沟通，减少冲突；5. 在家庭治疗中，分析家庭互动模式，缓解亲子矛盾；6. 在个人成长中，个体通过TA增强自我意识，实现行为改变；7. 在艺术创作中，艺术家利用TA深化作品情感层次；8. 在媒体批评中，评论家用TA分析角色动态，提供深度解读；9. 在社交技能培训中，人们学习TA改善交往技巧；10. 在压力管理中，应用TA识别情绪来源，找到应对策略。这些应用都基于TA的理论基础，如自我状态分析和交易模式，帮助人们在各种情境中实现更好的心理调适和互动效果。