Amplification: The Dance

I have chosen three of my patient's dreams to illustrate the use of amplification in clinical work. Two are quite early in her work; the third is fairly recent.

1. I am dancing 'on point' before a small and appreciative audience at a social gathering. I am surprised and pleased to find myself doing so. Then I realise there is something behind me. I turn and look to see that a very tall man who is my partner has been carrying me. I have not really been dancing at all. The real credit goes to him. I feel both sad and embarrassed, for the audience knew he was there all along even though I did not.

2. I am dancing in the chorus of a classical ballet. I am excited and pleased but I also wonder if I shall ever be a 'real' dancer, i.e. dance a solo.

3. I see a figure dancing in the midst of a ruined sanctuary, perhaps something like a very early church, domed and small.

It was an arresting figure which danced there. The top portion to the waist was that of a dark-eyed, dark-haired woman dressed all in white, looking rather like the early monumental Greek women of Picasso, while the lower limbs and feet of the figure were hairy goat legs and hooves.

The figure was divided at the waist. It was 'not split' (she explained with care) but rather as if there were something like a membrane between the upper and lower half of the body. The figure was dancing, and my patient said she was moved for days afterward by the rhythmic beat of the capering goat hooves. It was nearly impossible for her to keep from dancing wherever she was when she remembered and heard the sound.

It was a wedding ceremony, the goat woman was the bride. Finally the groom arrived; but he was veiled. No one could see who or what he was.