That uncertainty, produces it some discomfort or anxiety by fear of the unknown (drama). But if he’s seen the film several times, as he already knows what will happen (melodrama), anxiety disappears. As we see, the melodrama is always a safe play because we always know what is going to happen, but is very impoverishing, because it never happens nothing new. It is exchanged freedom for security (is better bad known that good to know). The strange thing in psychological terms, is to find a man married a woman; a mother is always with a son, two brothers and a father with a daughter, a sadist with a masochist, etc. That is why when an executioner there a victim, when a parent will have a son are complementary and necessary, couples looking to calm each other, staging the corresponding melodrama.
If I am an expert player of Mus., me go of accomplices to play the game which dominated. If someone proposes me to play poker, I shall refuse because I can not risk me anxiety that gives me the unknown and the fear to lose. We know that the melodramas will outlast thanks to melodramatic accomplices that give the replica allowing play to continue. Any melodramatic conflict resolution passes through changing the melodramatic accomplices by dramatic allies. You need to find healthy people who do not come into the game an accomplice who proposed them. The first dramatic ally should be the therapist.
This should help the patient to realize the consensus accomplice which moves, identifying those constraints, and impoverishing games representing the patient’s unconscious form, a thousand times. Once identified the game or melodrama, must help him, through interpretation, see actors or complicit in this melodrama in question. Subsequently, using the technique of repeated differentiating to stop repeating there to show him the way to get rid of these accomplices and begin to surround himself with allies, who are those who go to help cope with the new and unknown that is called life. On a previous tab I spoke of a man who was accumulating racing University. To its melodrama I baptized with the name of the eternal teenager. To be able to represent you fully, I needed accomplices who permitted it. In your case the melodramatic accomplices were his parents. He was trapped in not grow and remain the eternal teenager. Paper which dominated, reinforced you his accomplices and to which he was addicted. This patient delayed its growth and independence everything it could. In short: refused to live the drama of life. Every melodrama encloses in itself one or more conflicts. In this example, was that the nuclear conflict was fear to grow, but within this core, unless there were other two conflicts, which were separated from parents fear and fear to enter into the competitive adult life. It is therefore quite common therapies, have to work in parallel with parents, children, boyfriends or girlfriends of patients. Because in general these, unconsciously, are complicit in the patient consensus, that must be weakened to achieve his dramatic release.