Abstract Index Conference Index

ABSTRACT

1. Type of Presentation: Two-hour Workshop

2. Title of Presentation: Seeing is Believing: Phenomenological Dream Theater

3. Biographies:

Francesca Ferrentelli is a psychotherapist in St. Louis, specializing in eating disorders, chemical dependency and adolescent psychology. She is currently working on her doctoral dissertation in Mythological Studies at Pacifica Graduate Institute. Francesca has been doing serious dream work since 1987.

Martha Peacock is a Ph.D. candidate in Mythological Studies at Pacifica Graduate Institute. In addition to her mythological pursuits, she is a teacher and student of dream images, a freelance writer and lecturer focusing on phenomenological and archetypal patterns of the unconscious. Martha resides in Tampa, Florida.

4. Summary of Presentation (50 words)

This Phenomenological Dream Theater will demonstrate the thriving nature of a dream by bringing it to life on an imaginal stage. Without using the traditional tools of interpretation like word association or amplification, the dream will be allowed to speak for itself, conveying its message to participants via a theatrical setting.

5. 3 Learning Objectives and 3 evaluation questions

1. How to carry out an imaginal dream theater by staying within the confines of a dream and its images;
2. Often our dream analyses become dogmatic, believing that a particular image has a specific meaning. Our quick interpretations often miss the mark and we suffer a disservice to the dream and ourselves. In this workshop, we resist the urge to rush to interpretation, teaching the participants the benefit of allowing the image to reveal its message;
3. Because the exercise will focus, in part, on the sensuality of the dream, the participants should learn the benefit of paying attention to the body's sensations during the dream's reenactment.

Evaluation questions:

1. Did the participant learn how to enact a dream imaginally (or phenomenologically)?
2. Did the participant understand the value of remaining within the limits of the dream and the roles of its characters?
3. Did the participant understand the benefit of resisting the urge to rush to an interpretation and allow the dream to tell its story?

8. Abstract 

The goal of "Seeing Is Believing: Phenomenological Dream Theater" is to demonstrate the thriving nature of dream by bringing it to life on an imaginal stage. Without using the traditional tools of interpretation, like word association or amplification, the dream will be carefully described and re-enacted just as it occurred to the dreamer; its message conveyed through the performance. This type of "acting" requires no theatrical experience and offers a unique approach to dream exploration.

Phenomenological Dream Theater differs from other styles of dream enactment in four ways. First, before the dream is performed, the dreamer is encouraged to meticulously describe the dream in detail, helping each participant to "see" the dream in their minds' eye, or phenomenologically speaking, within the imaginal realm. This small, but important, shift vibrantly defines the dream's content and invokes the dream's essence into the room.

Once the participants "see" the dream clearly, characters are cast and the dream is reenacted without any embellishment. Phenomenological Dream Theater does not seek to enhance the experience with dramatic or exaggerated expression in order to amplify an emotion. Nor does it change the direction or outcome of the dream in an attempt to problem solve. The idea is to re-enter the dream as authentically as possible, embodying the dream characters (animate or inanimate) in their bona fide nature, consciously allowing the soul of the dream expression on the imaginal stage.

Props can be imagined or "played" by actors: a chair, a steering wheel, the full moon - any inanimate (and animate) object that seems pertinent to the dreamer can be considered. The individual playing the moon, for instance, may sensually imagine being a creamy yellow orb glowing amidst a dark, empty void, while simultaneously absorbing the sensation of the dream's re-enactment.

Finally, and perhaps the most challenging part of this style of dream theater is resisting the temptation to interpret or analyze the dream. To make associations may predict a certain outcome or explanation that the dream may or may not be implying. If the performance is enacted properly, little, if any, interpretation will be necessary. Everyone will have experienced the dream personally, each leaving with an overall understanding of the dream's message - not only for the dreamer, but for themselves.

Without our interpretation, the dream reveals its intentions. As the actors play their parts, they may sense an emotional tug during a certain scene, sense the dreamer's reaction to a movement or react personally to a character or emotion. Ideally, the dreamer, the actors and the audience will leave the imaginal theater with a deeply rooted understanding of the dream's message - a message different than discussion or analysis can offer.

10. Active credentials

- Francesca Ferrentelli is a psychotherapist psychotherapist in St. Louis, specializing in eating disorders, chemical dependency and adolescent psychology.

- Martha Peacock is a freelance writer and lecturer, specializing in phenomenology and archetypal psychology.

- Both Francesca and Martha have their Masters Degree and are Ph.D. candidates in Mythological Studies with an emphasis in Depth Psychology at Pacifica Graduate Institute.

Specific training in dream work or dream studies

- Francesca and Martha have studied dream work at Pacifica Graduate Institute, specifically in courses like Myth and Dream, Psychology of Religion and Depth Psychology.

Nature of experience conducting dream workshops

- At ASD's 17th International Conference, Francesca and Martha held a Dream Theater workshop. Each woman has formally and informally conducted dream classes within her respective community.

- Martha facilitates dream classes in the Tampa Bay area.

Orientation, style or name of methods or techniques to be used

- Their orientation is based upon the works of Carl Jung and James Hillman.

Detailed description of the activities in which attendees will be encouraged to participate during the workshop

- First, the attendees will be lead in a brief relaxation meditation in order to prepare a space for the dream's image. Then, a volunteer will be asked to share a dream in full detail. Participants will be encouraged to ask questions in order to glean a clear understanding of the dream's sequence and its images. (Questions relating to personal association or analysis will be avoided.) Next, the dreamer will cast the characters and the dream will be enacted. If necessary and at the dreamer's request, the dream may be reenacted two or three times, perhaps re-casting characters. After each performance, the reactions of the dreamer, the actors and the audience will be prompted and discussed.