Christian Fülling, Traumarbeit für Schauspieler

Christian Fülling
Adresse folgt
Adresse folgt
Telefon: 030 265 486 01
Website: w

“Dreams are like treasure chests
the ocean of the unconscious washes ashore,
and often we throw them unopened back into the ocean.”

(freely adapted from C.G. Jung)




Is it possible to dream the portraying character’s dream by means of an acting technique? Can the resulting dream offer answers to open questions which cannot be found in other techniques; especially in the actor’s own experiences? Can one work on this dream in order to awaken the sense and emotional memory of the portraying character in the actor’s body? Does this experience primarily represent the character’s experience and not the actor’s? All these questions can be answered with a clear “Yes.”


In the last one-and-a-half decades a wholly new and brilliant acting technique emerged in the United States – the dreamwork, developed by Janet Sonenberg, professor in theatre at the renowned MIT in conjunction with internationally known dream expert Robert Bosnak. 
The roots are based in the dreamwork of the late Carl Gustav Jung, a Swiss physician and psychologist. C.G. Jung defined dreams as an expression of the unconscious, whose imageries and symbols communicate crucial information to the consciousness.

The starting point of the dreamwork is the incubation, the purposive seeding of dreams with material from (screen) plays. Thereafter, the actors generally dream the character’s dream. The subsequent dreamwork excludes completely therapeutic intentions and dream interpretations. It simply uses the imageries of the autonomous imagination (expression by Prof. Sonenberg) to awaken the character’s unconscious world in the actor’s body, which, in turn, the actor can willingly use to affect their acting. While Method Acting works with real lifetime sense- and emotional memories the dreamwork merely uses the sense and emotional memories from the incubation and dreamwork.


This technique solely is an additional instrument during rehearsals and is being used at the earliest in the advanced actor’s preparation. Thus, it displays no competition to other techniques.


I have a diploma in dream-therapy and completed two-years training at the New Yorker Lee Strasberg Theatre & Film Institue. To my referees among others belongs the German actress Anneke Kim Sarnau. The incubation and dreamwork are generally held in two sessions. I also offer the dreamwork to theatre companies. Please feel free to contact me for further information. 



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