Peter Schaffer’s Equus was first published back in 1973. This play asks compelling and relevant questions about society today by first and foremost dealing with the character and personality of Alan Strang whose extraordinary capacity for passion serves as the underlying topic because it goes beyond the normal boundaries of modern society’s acceptable views. After him committing a horrible crime, Alan’s parents feel utterly helpless and turn to the middle-aged psychiatrist Dysart who agrees to treat him and seems to be the only one not giving up on the boy while he is trying to discover Alan’s motives. In this process the reader is allowed to join Dysart on his psychologically demanding journey through the boy’s tortured mind and is forced to re-evaluate the concepts of conscience and moral behaviour .
Here I want to discuss Alan’s ability to live in a dream world so ardently that he completely gives up reality and submerges in an idea of his own horse-god that can bring him the salvation no other entity is able to offer him in his own imagination.
Table of Contents
I. Introduction
II. The Willing Suspension of Disbelief
III. Conclusion
IV. Bibliography
Objectives and Topics
This seminar paper examines the character and psychological state of Alan Strang in Peter Shaffer's play "Equus," focusing on his internal struggle between reality and his obsessive, self-created world of religious devotion to horses. The central research question explores how the concept of the "willing suspension of disbelief" applies not only to the audience but to Alan's own psyche, and how his psychiatrist, Martin Dysart, struggles with the morality of "normalizing" a boy who has found a unique, albeit extreme, form of passion and spiritual connection.
- The psychological impact of social expectations on individual identity
- The concept of "willing suspension of disbelief" within the protagonist's internal reality
- The role of religion and ritual in creating personal meaning and salvation
- The moral dilemma of the psychiatrist as a "destroyer" of individual passion
- The dichotomy between the "Normal" world and the "mythical" experience of the individual
Excerpt from the Book
II. The Willing Suspension of Disbelief
The “willing suspension of disbelief” that Coleridge talks about, does not only refer to the play and its audience but also creates a profound meaning within the dramatic piece concerning Alan Strang itself. I would like to illustrate this statement by the following: In the sense of the suspension’s literary meaning, it leads the audience to adopt the mental attitude in which it is willing to ignore the reality of every day life and accept all kinds of fantasies and impossibilities on stage. The profound meaning mentioned is not necessarily or completely different from Coleridge’s original concept for the audience, however it is a different viewpoint that originates inside Alan’s psyche.
“Just as the will to love precedes the loving, so can the willing suspension of disbelief precede the believing, beginning with ridding ourselves of the notion that something must be demonstratively clear before it can be considered true.”
With Alan, the willing suspension of reality precedes and positions itself by his faith in Equus, his extreme obsession for the horse-god.
Summary of Chapters
I. Introduction: This chapter introduces Peter Shaffer’s play "Equus" and outlines the core conflict regarding Alan Strang’s obsession with horses and his psychiatrist's attempt to uncover the motives behind his actions.
II. The Willing Suspension of Disbelief: This section explores how Alan creates a private, mythical reality through his devotion to horses, contrasting his internal world with society's demand for normality and the conflicting professional perspective of Dr. Dysart.
III. Conclusion: The conclusion synthesizes the psychological observations made throughout the paper, arguing that while Alan finds meaning in his rituals, his psychiatrist faces a profound moral crisis regarding the consequences of stripping away a patient's unique passion.
IV. Bibliography: This chapter lists the primary literary sources and the internet resources used to support the analysis of the play.
Keywords
Equus, Peter Shaffer, Alan Strang, Martin Dysart, Psychology, Willing suspension of disbelief, Passion, Mythology, Ritual, Identity, Normalcy, Mental Health, Religion, Literary Criticism, Individualism
Frequently Asked Questions
What is the primary focus of this seminar paper?
The paper focuses on the character of Alan Strang from the play "Equus," specifically his ability to abandon reality in favor of a private, mythical world centered around horses.
What are the central themes discussed in the work?
The central themes include the conflict between individual passion and societal norms, the function of rituals in human identity, and the moral responsibilities of psychiatric treatment.
What is the core research question or objective?
The objective is to analyze how the "willing suspension of disbelief" functions internally for the protagonist and to explore the psychiatrist's internal struggle with the morality of his profession.
Which scientific or analytical method is applied?
The paper uses a literary and psychological analysis approach, drawing on the works of Coleridge and Norman N. Holland to interpret the protagonist's behavior through the lens of theatrical and social theory.
What is the content of the main body?
The main body examines Alan's childhood experiences with horses, his family background, the development of his "horse-god" Equus, and the evolving relationship and philosophical clash between him and Dr. Dysart.
Which keywords best characterize this work?
The work is best characterized by terms such as Equus, psychological obsession, societal normativity, the role of myth, and the tension between individual consciousness and psychiatric intervention.
How does the paper relate the concept of "willing suspension of disbelief" to Alan?
Unlike the traditional theatrical concept where an audience ignores reality, the paper argues that Alan applies this suspension to his own life, choosing to live in a state of self-created fantasy as a form of salvation.
How does Dr. Dysart view his own role in Alan's treatment?
Dr. Dysart begins as a healer but grows to see himself as a "destroyer" of a unique, passionate individuality, feeling envious of Alan’s ability to feel such deep connection to his faith.
- Quote paper
- Jennifer Tubler (Author), 2003, Literature and Therapy, Munich, GRIN Verlag, https://www.grin.com/document/65606
