Bu iki işlevsel yaşam alanının ilişki ve etkileşimi ortak tarihsel köken özelliğine sahip olmasından kaynaklanmaktadır. Tiyatronun insanyaşam ve yaşantısındaki rol ve ödevi, psikiyatrinin sonradan üstlendiği çoğu amaçla doğrudan çakışma halindedir. Bu durum, bu iki alanda çalışan meslek kişileri ve de özellikle oyuncu ve psikoterapistler arasındaki resim benzerliğini de bir yere kadar açıklamaktadır. "Shakeaspeare olmasaydı Freud olmaz mıydı? " sorusu çetin görünmekle birlikte açılmaya ve tartışmaya yatkın bir sorudur. Bu yazı, çevresel olup bir iddia taşımaksızın, bu soru etrafında dolaşan düşünce kırıntılarından oluşmuştur.

These two human activities are in fact different phenomena which speak for themselves. Both of them represent a hard way of re-creation of life within their own terms with a considerable degree of spectacularity.They share a unique existence and/or experience, not only as a tool but as a goal as well. It is the Human Being Cartesian dichotomy was discovered long before Descartes. Body and Soul are the oldest players of the Earth-Scene, beginning on the very day of the man put his step in this world. They mutually activate each other. While soul flies body away,body irresistably temptates soul. So are born our words and poems. When the poem becomes stripped off its metaphore, what surfaces is the theatre itself.That is why William Shakespeare was originally a poet.The most common language of human poetry has always been the theatre. During antiquity theatre used to be a matter of priority to become aware of human reality in every aspect; to understand and to express emotions; to discover the background motives of human behaviour and attitudes. Cross-sectional amelioration of history and life was transported to the ramp lights for the eyes of the public.Therefore theatre, at that time and ever, remained as an effective tool in order to interrogate man, his life and relations. In the meantime psychiatry was getting through its breath-taking voyage with one foot in the light the other deep in the dark and seeking for approval as a scientific discipline. It is believed that if William Shakeaspeare did not write his wonderful plays, Sigmund Freud would not be able to construct his well-known theory, Psychoanalysis. This is very much alike the complemantary analogy between Hegel and Marx. Hegel's instuition was astonishingly perfect but the theory unfortunately was head to heels. What Marx did was to make it stand up and to name it as Dialectic Materialism. No need to give reports about its wide impacts which abruptly changed the whole face of the human world. On the other hand, Shakeaspeare the poet/play-wright, drew attention to simple truths of life and underlined the fine features of daily interactions. Jealousy, enmity, struggle for dominance, betrayal, disappointment, hatred, urges to love/live and die and uncountable other qualities of human experience were in the domain of the playworight keen observation making them his field of interest. It was only a few steps away for a theory to emerge, but nobody realized it until Freud. In other words, theatre and psychiatry used to know each other along the centuries but waited for Sigmund Freud to make a real acquaintance. Repercussions of Psychoanalytical Theory encompassed nearly every walk of life and caused novel assumptions and deductions regarding the traditional problems of philosophy. Therefore Sigmund Freud is also considered a philosopher. Forced immigration of Psychoanalysis from Europe to United States due to world war ended up in a compact individualization of the theory. In the final analysis primordial solitude was inevitable for the suffering individual. The costpresented with psychoanalytical theory was quite heavy for the sole human being but worth to deal with. A Street Car Named Desire, The Ballade of Sad Cafe. All My Sons. Death of a Salesman Suddenly Last Summer, Summer of Forty Two,The Cat on a Hot Tin Roof Gass Menagerie, Reflections on a Golden Eye are the major examples of to what extent the theatre became psychologized under the influence of pyschoanalytical theory. There are many other examples of this both in movie and theatre. The core question is whether there is an abuse potential or not, in this “american over do ” process of an innocent theory imported from Europe. Relatedness between theatre and psychiatry is reflected upon the Vision of the player on the eve of a play. The psychologically minded player takes advantage of developing a vertical understanding of his role around a certain character. All players should inhabit a strange dualism regarding their performancet they are themselves and others at the same time. That means there are times coten a very thin and vague line borders theatre and psychiatry.lt is not uncommon to among the theatre players a fuzzy perception of the self and the assuming, this chaotic experience as a component of their professional life. When the flux from psychiatry to theatre is reversed, psychothetrapy comes to the light. In this performance therapist is expected to be component as much as an actor who acts both expressively and impressively. Similar to the player's dualism, spontaneously he is both himself and the other during the process since he empatisizes with the client. Somewhat different therapist who is not in control of choosing the script and the other player. Psychiatry/theatre, psychiatrist/player; they have lots of things in common and they come together but meet not very often. Both have roots in history and lived a process of survival for ages close their contact with each other has always been an extra-ordinary occasion for those who feel and understand. Nevertheless there is always a player who inside lives with the psychiatrist and a psychiatrist with a player. This co-existence is different and distinguished as a quality of life and is granted with the skill of converting the experience into an artistic modality in every sense.