Cultic Studies Review, Vol. 9, No. 1, 2010, Page 72
Peggy directed us to read renowned actor and director Stanislavski‘s book, An Actor
Prepares (1978). He comments on the creative process of acting to which we aspired:
Aside from the fact that it opens up avenues for inspiration, living the part
helps the artist to carry out one of his main objectives. His job is not to
present merely the external life of his character. He must fit his own human
qualities to the life of this other person, and pour into it all of his own soul.
The fundamental aim of our art is the creation of this inner life of a human
spirit, and its expression in an artistic form.
This process includes qualities that are essential to ―creativity‖: spontaneity, originality,
risk-taking, imagination, synthesizing a new form, intuition, playing, considering various
scenarios.
The story of Karin begins during an extremely crucial phase in her life, with the death of her
mother. For obvious reasons, it resonated with me. At the hospital to visit her mother, Karin
is in a ―long, dark corridor of the ward, with doors on either side, the ceiling lights are
already on—it is an autumn afternoon‖ (Bergman, 1976, p. 1). This image represents the
nature of contact with the unconscious when the individuation process is reinforced. The
unconscious is often symbolized by corridors, labyrinths, or mazes. That the ―lights are
already on‖ symbolizes the emergence of consciousness. Not only is this corridor an
expression of the unconscious, but it is also a symbol of transcendence. According to Jung,
this speaks to an individual‘s need for liberation from any state of being that is too
immature, too fixed or final. As examples, self-limiting states can develop when a woman
becomes overly identified with a parent, develops self-limiting beliefs from family of origin
experiences, or through thought reform in cults. In any case, liberation is necessary for
individuation or psychic growth. Jung‘s concept of individuation is described by Jungian
scholar/psychoanalyst Marie-Louise von Franz (1964):
Our dream life creates a meandering pattern in which strands or tendencies
become visible, then vanish, then return again. If one watches this
meandering design over a long period of time, one can observe a sort of
hidden regulating or directing tendency at work, creating a slow,
imperceptible process of psychic growth—the process of individuation….
Gradually, a wider and more mature personality emerges, and by degrees
becomes effective and even visible to others. (p.161)
The symbol of individuation is found in the art forms of the mandala, a Sanskrit word
meaning ―circle‖ and denoting ―wholeness.‖
Karin briefly observes the body of her mother, itself an archetype of the Virgin Mary, to
which Bergman assigns special importance throughout the screenplay. This archetype
symbolizes purity, nurturing, exalted love, and fertility. As Karin leaves the hospital room, a
nurse places her mother‘s wedding rings in her hand: ―They are the worse for wear and
badly scratched,‖ writes Bergman. (p. 10). Karin has been ―touched‖ by the symbol of the
wedding vow, yet this symbol has become tarnished. Bergman gives us a momentary
insight into a major conflict that will soon occur.
Karin steps into a dark cloakroom and ―is standing there with her face turned to the
protective darkness, weeping to herself at the unutterable sense of loss.‖ A man suddenly
intrudes, asking Karin if he can help. ―No,‖ she replies. The man personifies what Jung calls
the shadow, the shadow or dark side of the human psyche, representing unknown or little-
known attributes and qualities of the ego. The shadow part of oneself is usually concerned
with those qualities and impulses one denies in oneself but can see in others. It can be
one‘s friend or enemy (Jung, 1971). ―Just as the ego contains unfavorable and destructive
attitudes so the shadow has good qualities—normal instincts and creative impulses‖
Peggy directed us to read renowned actor and director Stanislavski‘s book, An Actor
Prepares (1978). He comments on the creative process of acting to which we aspired:
Aside from the fact that it opens up avenues for inspiration, living the part
helps the artist to carry out one of his main objectives. His job is not to
present merely the external life of his character. He must fit his own human
qualities to the life of this other person, and pour into it all of his own soul.
The fundamental aim of our art is the creation of this inner life of a human
spirit, and its expression in an artistic form.
This process includes qualities that are essential to ―creativity‖: spontaneity, originality,
risk-taking, imagination, synthesizing a new form, intuition, playing, considering various
scenarios.
The story of Karin begins during an extremely crucial phase in her life, with the death of her
mother. For obvious reasons, it resonated with me. At the hospital to visit her mother, Karin
is in a ―long, dark corridor of the ward, with doors on either side, the ceiling lights are
already on—it is an autumn afternoon‖ (Bergman, 1976, p. 1). This image represents the
nature of contact with the unconscious when the individuation process is reinforced. The
unconscious is often symbolized by corridors, labyrinths, or mazes. That the ―lights are
already on‖ symbolizes the emergence of consciousness. Not only is this corridor an
expression of the unconscious, but it is also a symbol of transcendence. According to Jung,
this speaks to an individual‘s need for liberation from any state of being that is too
immature, too fixed or final. As examples, self-limiting states can develop when a woman
becomes overly identified with a parent, develops self-limiting beliefs from family of origin
experiences, or through thought reform in cults. In any case, liberation is necessary for
individuation or psychic growth. Jung‘s concept of individuation is described by Jungian
scholar/psychoanalyst Marie-Louise von Franz (1964):
Our dream life creates a meandering pattern in which strands or tendencies
become visible, then vanish, then return again. If one watches this
meandering design over a long period of time, one can observe a sort of
hidden regulating or directing tendency at work, creating a slow,
imperceptible process of psychic growth—the process of individuation….
Gradually, a wider and more mature personality emerges, and by degrees
becomes effective and even visible to others. (p.161)
The symbol of individuation is found in the art forms of the mandala, a Sanskrit word
meaning ―circle‖ and denoting ―wholeness.‖
Karin briefly observes the body of her mother, itself an archetype of the Virgin Mary, to
which Bergman assigns special importance throughout the screenplay. This archetype
symbolizes purity, nurturing, exalted love, and fertility. As Karin leaves the hospital room, a
nurse places her mother‘s wedding rings in her hand: ―They are the worse for wear and
badly scratched,‖ writes Bergman. (p. 10). Karin has been ―touched‖ by the symbol of the
wedding vow, yet this symbol has become tarnished. Bergman gives us a momentary
insight into a major conflict that will soon occur.
Karin steps into a dark cloakroom and ―is standing there with her face turned to the
protective darkness, weeping to herself at the unutterable sense of loss.‖ A man suddenly
intrudes, asking Karin if he can help. ―No,‖ she replies. The man personifies what Jung calls
the shadow, the shadow or dark side of the human psyche, representing unknown or little-
known attributes and qualities of the ego. The shadow part of oneself is usually concerned
with those qualities and impulses one denies in oneself but can see in others. It can be
one‘s friend or enemy (Jung, 1971). ―Just as the ego contains unfavorable and destructive
attitudes so the shadow has good qualities—normal instincts and creative impulses‖
