Hilda Catz

I consider Angelika’s work to be very important owing to the fact that not only does she allow the mother –daughter bond to develop, but the co-created fantasy between Anna and her mother of being a part of her body as well. Furthermore, she plays the role of the leading father in contrast with Anna’s father who doesn’t pay enough attention to this serious inhibition, leaving Anna’s mother alone with her anxieties.
As a final remark I would like to underline three relevant issues:
1. Angelika’s flexibility to work with Anna as if it were “the song and dance level”, before focusing on the oedipal situation. Bearing in mind Meltzer’s works:”The extension of the range of the method is probably not so much dependent upon any amplification of theory as it is on an intensification of technique ... he may both perform a function and assist in the internalization of an augmented function of understanding”.
2. The importance of the connection of the tongue between therapist and patient, resembling the relationship mother and a four, five or six month baby when it starts to utter the first sounds. It is worth mentionning that the tongue does not stand as an autist object, at least in this case.
3. Last but not least, the impact of transgenerational transmission, on this case by means of the motherly function throughout the successive generations.
Futhermore, Angelika offers her patient a feasible playing space, thus paraphrasing Winnicott, “playing and only playing, may child and adult become creative”.


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