THE HISTRIONIC PERSONALITY

"He won’t kill himself. It’d please too many people."
-Roscoe Karns/Charles MacArthur, Ben Hecht, Charles Bruce Milholland

The Histrionic Personality - A pervasive and excessive emotionality, theatricality, self-dramatization and attention-seeking behavior. Beginning by early adulthood and present in a variety of contexts.

Three Films That Got It Right...
A STREETCAR NAMED DESIRE - Blanche Dubois, a wrung belle recently and rather rudely deposed from her Southern plantation, Belle Reve, arrives penniless in New Orleans. She takes A Streetcar Named Desire and descends upon her sister, Stella - "Stella for star" - and her new husband, Stanley Kowalski. Blanche seems to live in a highly vaulted fantasy world of grand manners and opulence. A world that is decidedly at odds with the shabby hovel in which Stella and her working class husband have made their home. Blanche lives by the misty light of her fading charm, a glow that surrounds only her these days, and tends to baffle those around her. At first, the frivolous, flirtatious Blanche amuses Stanley. Later, he is repelled when he realizes that she honestly believes her own distortions and fantasies. She cannot manage to focus on the reality that her life has crumbled around her.
MY FAVORITE YEAR - Alan Swann is a blustering, turbulent, troubling movie star of yore who drunkenly swashbuckles his way into the life of Benjy Stone in the 1982 comedy, My Favorite Year. Born Clarence Duffy, he has sold his soul and the twinkle in his eye to the movie studios. Sold it for a life of ongoing theatrics. He has become, without a doubt, Alan Swann. As Alan, the applause - at least in his own ears - never fades, as he takes full advantage of the ability to publicly ride the rollercoaster of his turbulent emotions and the whims of desire. He is a movie star at all times and never hesitates to abuse the rights and privileges thereto. He is ceaselessly provocative though he seldom seems authentic. It seems an act as he seduces any woman within arm's length without regard to any prior alliances - hers or his own. He charms, he does not try to deceive - he is the first to list his many faults - and he gets away with avoiding responsibility through the fawning complicity of those around him. Any relationship that does not involve melodrama (and that does not allow him to hysterically express his emotions) he avoids. Swann runs away (physically), or by dissolving it in alcohol.
BLUE SKY - In Blue Sky, Hank Marshall, a major in the U.S. Army, must cope with his wife, Carly, who, as he puts it, "…always has to take everything right over the edge." A wiggling, jiggling sex kitten, Carly changes her hair color as often as movie magazines change their covers. Her erratic behavior, her smoldering, inappropriate seductiveness, her tantrums when she goes on a rampage destroying government property, have forced the Marshall family to change bases as frequently as the seasons. Carly fancies herself a dancer in the mold of Tempest Storm, though she is unable to make the distinction between being on stage and not. Even though she has a penchant for performing one-woman USO shows at home for visiting battalions, she loves Hank. She calls him "Daddy."
When it comes to digging up the eccentric Histrionic, a near century of film excavation has unearthed nothing short of a gold mine. Storytellers have exhumed a rich world of complexities and inspiration from which to craft realistic and engaging personalities. This is due in no small part to the fact that the appearance of the Histrionic Personality is widely seen across cultures and age groups. They are everywhere, seldom go unnoticed, and have proven to be the meat and potatoes of some of the greatest films ever made. And where movies are concerned, we are talking about a wildly varied pride of films-from the eloquent grace of A Streetcar Named Desire to the urban rough Dog Day Afternoon. It includes such characters as the deft and drunken Arthur (Arthur) and the sexual strutting Joe Buck (Midnight Cowboy). The Histrionics’ story has been told in everything from All About Eve to Rocky Horror Picture Show.

One of the interesting side notes is how cinematic history has chosen to remember these characters. Perhaps here, more than any of the other personality styles, there appears to be a direct connection between the Histrionic and that cherished little man, Oscar. Academy Award nominated and/or award-winning performances are (even by Hollywood standards) excessive. Taking home statuettes for their interpretations of Histrionic characters: Vivien Leigh (A Streetcar Named Desire), Jessica Lange (Blue Sky), Shirley MacLaine (Terms of Endearment), Diane Wiest (Bulletts Over Broadway), Liza Minnelli (Cabaret), Barbra Streisand (Funny Girl), and Jean Hagen (Singin’ in the Rain).

Equally impressive is a nominee list that includes such notables as Ronee Blakley (Nashville), Leslie Ann Warren (Victor/Victoria), Rosalind Russell (Auntie Mame), Anne Bancroft (The Turning Point), and Meryl Streep (Postcards from the Edge).

For the men, nominations graced Peter O'Toole for his Histrionic field day as Alan Swann in My Favorite Year; Paul Newman for the brooding Brick in Cat on a Hot Tin Roof; Chris Sarandon in Dog Day Afternoon; and Dudley Moore for Arthur. William Hurt (Kiss of the Spider Woman) took home the gold.

Writers, directors, and producers have also been served well by the Histrionic. At the center of Academy Awards nominations for Best Writing and/or Best Picture, such films as: All About Eve, Terms of Endearment, Dog Day Afternoon, Bullets Over Broadway, Cabaret, Arthur, Cat on a Hot Tin Roof, and Kiss of the Spider Woman.

The characteristics to be discussed in this chapter define not only the Histrionic Personality but (with a few variances) the Narcissistic Personality as well. This is because these personalities (along with the Borderline Personality) belong to what is identified as a cluster. A cluster refers to the fact that these clinical renderings share many of the same traits. Separating one from the other in a film or in a developing story (let alone diagnosing them) can be a daunting task.

With the Histrionic and the Narcissist we find many overlapping qualities. There are also distinct variations. What qualifies a Histrionic such as Margo Channing (All About Eve) from a Narcissist such as Norma Desmond (Gloria Swanson in Sunset Blvd.), or Sally Bowles (Cabaret) from Joe Gideon (Roy Scheider in All That Jazz), is that Histrionics will generally distinguish themselves by displaying a greater degree of warmth and empathy. This is something uncommon for the oftentimes cold and manipulative Narcissists, who are frequently noted for a pattern of grandiosity, a need for admiration, and a lack of empathy. Histrionics behave with great similarity, but most often they do want people to genuinely love them (and will commonly fight it out for the existence of a relationship). Although perhaps formidably self-centered, they usually exhibit true (if hidden) concern for others. Narcissists, on the other hand, are rarely interested in someone else's point of view. Narcissists adhere to the concept of being loved by others, but know little of the feelings inspired by a sense of love. For the Narcissist, what will be most important are their needs and what they consider to be from others: due respect.

Pervasive and excessive emotionality, theatricality, self-dramatization, and attention-seeking behavior primarily define the Histrionic Personality. The Histrionic is easy to recognize as a personality that is as vivid and notable as it appears to be unstable. Although very much a generalization, a good rule of thumb is the following:
º The Histrionic Personality will be found in lighter fare-comedies and romances.
º Narcissists generally play out in dramas, mysteries, thrillers, and black comedies.

You will find that Histrionics do occasionally appear in dramas-sometimes with great results (such as Blue Sky, Streetcar Named Desire, and Kiss of the Spider Woman). The same doesn’t hold true for the Narcissistic character. They rarely show up as the protagonist of a comedy or romance. The reason for this is that Histrionics (despite their overwhelming quirks) are likable. At times they can be lovable. By their very nature, it’s hard (if not impossible) to warm up to the Narcissist. To set off creating a comedy or romance with a Narcissistic Personality as the protagonist is to head down the proverbial hard road to travel. (a hard row to hoe)

In psychological studies (and as suggested by the history of films) the Histrionic Personality is diagnosed most frequently in women. This doesn’t mean that you can’t find the personality disorder in men. You can and do. In men, the behavioral expression may be influenced by sex role stereotypes at both ends of the spectrum-from macho to femme. You see everything from the self-confidant stud, Alan Swann (My Favorite Year), to the drag-fitted Frank-N-Furter (Rocky Horror Picture Show). They can incorporate behavior ranging from that of the mock male bravado of a Joe Buck (Midnight Cowboy) to the excessive diva display of Michael Serrault's priceless Albin (La Cage aux Folles; and Nathan Lane as Albert in The Birdcage).

The behavior of the Histrionic Personality has the air of seeming less than authentic and frequently melodramatic. This is true not only in their outbursts of unearned rage, but also in their happier moments. They may react inappropriately, both in context and intensity. Blanche Dubois seems pathetic as she acts as though she were a spring debutante, stringing her sister's husband with a feather boa as he tries to discuss the very real matters of finances in a New Orleans slum. Alan Swann, in a rare (though undeniably grand) and seemingly contented moment, confides to Benjy that, "I can't tell where the bogus [me] ends and the real [me] begins. Nothing about me is as it seems to be."

Histrionic behavior displays manipulation, repetition, and provocation. Histrionics can be intensely sexual and view themselves as sex objects; their sexuality is often the sole measure of their self-worth. They appear as the eternal gamins, the vixens, the minxes, the flirts, and the studs. They tend to have a fluid self-concept and regularly rely more on their appearance for social acceptance than they do their accomplishments or more stable achievements. Blanche tenaciously hangs on to her long distant youth, decrying direct light and its "merciless glare." Carly only feels alive when she believes she is an object of adoration, whether it is from her husband, other people's husbands, or her children. Alan prides himself on the fact that he is the movie star stud whose aim and purpose is to perform that role, thereby fulfilling the fantasies of his hordes of adoring female fans. The Histrionic often resorts to role playing by assuming the guise of helpless, delectable little girl (or little lost boy), which provokes the patronizing, controlling father/master in others. "You're a big girl now," Hank says to Carly after she has exhausted one of her rants.

Their appearance (one of their main assets, or so they believe) is of vital importance to them. Histrionics will customarily keep attention focused on the external and attempt to draw attention to their bodies to stave off intrusion into their troubled souls. If things are kept stirred up with drama, who has time to ponder things deeper than the skin? Blanche Dubois “can't stand a naked light bulb." Far too much will be seen. Carly realizes that "a woman's charm is mostly illusion, after all." She is terrified of the aging woman in the mirror that is reaching out to take her place. They keep arousal high, they parade their vanity, and they may be exhibitionists. Rocky Horror’s Frank-N-Furter never walks through a room, he struts-and he usually struts in high heels and fishnets. In Blue Sky, when she notices a helicopter flying overhead, Carly takes this as a cue to gambol in the surf, doing the Dance of the One Veil.

Histrionic Personalities may see themselves as childlike-as little girls or little boys-helpless and in dire need of rescue by their daddies. To this end, they gravitate toward older men. These caretakers, men with greater power, are idealized members of the opposite sex. Through them they gain vicarious self-esteem. Blanche is forever seeking-and unfortunately finding, in the series of young men under her charge-that fey, fragile first love of her life, which unfortunately she mocked into suicide. Carly finds herself attracted-perhaps detrimentally so-to military men (surely the supreme icon of masculinity). Aurora Greenway, trying to cope with the Terms of Endearment, falls for nothing less than a famous astronaut. Victor/Victoria's Norma dances up to a Chicago gangster. Kiss of the Spider Woman's fey hairdresser, Luis, finds solace with an imprisoned revolutionary. La Cage aux Folles's Albin has his resilient Renato. Arthur (Arthur) has his manservant, Hobson, and Brick (Cat on a Hot Tin Roof) his love/hate for Big Daddy.

Seeing themselves as small, fearful, sensitive children, they often believe they are handling difficult situations as well as they are able in a world dominated by powerful and alien people. They see themselves as not responsible for what happens to them. Characters such as Peter O'Toole's Alan Swann and Dudley Moore's Arthur delight at the possibility that they might be under the care of handlers. They prefer to have all responsibility taken away from them. For Swann, he prefers it so much that he eschews the wearing of timepieces on the grounds that he mistrusts them because one hand is shorter than the other. In a childlike way, he is very happy. He can drink himself comatose. There will always be someone to strap him into a luggage dolly and get him to where he needs to be. Alan needs a safety net-he will not allow himself to be responsible for his own actions. So much so that he can't trust himself to do live television. He needs the security of multiple takes and the editor's skill. "I'm not an actor," he rants hysterically. "I'm a movie star!" For Arthur, the death of his manservant (a glorious turn by Sir John Gielgud) and his dependency on him will prove a major plot point.

Histrionics regularly assume passivity; they give up easily, and often cannot plan or think with complexity. They may see themselves (and promote others to see them) as insubstantial, irresponsible, and incompetent: "Sometimes I think I could just disappear and no one would ever know I'd been here," Carly says; La Cage aux Folles’s Albin and his noble but failed attempt to "walk like John Wayne" and save the day of his adopted son. They see problems as insoluble, and make themselves unable to handle difficult situations. This lets them off the hook. This way they do not have to face threatening decisions. They let other, more powerful, people take care of things.

This exuded shallowness is generally a result of their difficulties in being authentic with their feelings. Authenticity can bring a greater understanding of themselves and of their pasts. Authenticity also brings pain. Instead, they have a tendency to delete information that may be troublesome or uncomfortable. They blur or completely block out thought processes that may reawaken awareness of matters better left buried: the helpless Brick of Cat On a Hot Tin Roof stumbles his way through an evening, literally on crutches, drinking away memories, hiding from the great tragedy of his life; the irresponsible, childlike behavior of the lost little boy inside Dudley Moore's Arthur, unable to face what money cannot buy. They usually prefer to go for the greater drama and hysterical reaction to avoid the self-analytical probing that deeper thought entails. Anything to prevent forcing a resolution. Most likely, emotional problems will seem too difficult to solve. This contributes to the Histrionics' belief that they are incompetent, insubstantial. Faced with a situation in which hysterics will not do the trick, they may resort to altering their states of consciousness through alcohol or drugs or risk physical safety. Blanche Dubois certainly enjoys a good tipple, usually under the guise of misplaced gentility and Southern charm. Alan Swann is certainly no stranger to the bottom of a bottle of hooch. When Swann is first introduced, he is plastered. He does, nevertheless, manage to do an inebriated somersault onto the boardroom table and promptly go unconscious. Later he explains it to Benjy: "You know what they say about me, you can always depend on Alan Swann. He'll always let you down." Suicidal attempts are possible, but these attempts are usually just that-attempts, not successes. They usually serve as another avenue for acting out and drawing others into the melodrama.

Their reactions are often seen as strictly emotional (and thus volatile) as opposed to cerebral. They react to what they see (or feel) and not to how they think. Their judgments seem rash, harsh, and based on the visual, as opposed to a more deeply thoughtful consideration. Quite commonly there is an absence of factual and reality-based discrimination. They react solely based on the veneer, on the surface. They also react quickly, especially when threatened by the reactions of others. Blanche pathetically plies her charms on Stanley when he wants to talk finances. She becomes the inappropriately winsome waif in the face of a necessity for rationality. Alan Swann, in the middle of charming a table full of Benjy's relatives during dinner, finds himself confronted with the fact that he has abandoned his daughter. His first action is to get very drunk and start playing the movie star full force, engaging in life threatening daring-do and scaling the side of a skyscraper. "It worked in the movies," he tells Benjy. "That was the movies, this is real life," Benjy responds. "What's the difference?" Alan shoots back.

The Histrionic world (similar to that of the Borderline Personality) is a world of stagy over-stimulation. A world in which they are quick to act out their emotions. They react violently to the external and avoid completion of thought processes at all costs. Carly moves from lovely Hawaii to a dingy rathole of an army base in Alabama. She walks into her new home and, instead of resigning herself to her fate and making the best of it, she proceeds to go on a rampage. She destroys what there is of the tattered furnishings and then, for good measure, smashes the car. In the cellar of their Southern home, Brick explodes in front of Big Daddy. He literally tears up and destroys the remnants of his past. This emotional reactivity of the Histrionic serves to coerce the environment into taking responsibility for them and their perpetual dependency. Hank Marshall does just that. He waits out the storm, calmly talks Carly down from the edge of her emotions, and then cradles her in his arms.

Persistent and intense intellectual concentration will seem to have very little place in the world of the Histrionic. They more often than not become distracted or despondent when the necessity of careful thought and consideration would serve them well. A nice dramatic scene never fails to sidestep the issues at hand. Blanche, when going over the ruined finances of Belle Reve, would rather not think about it. She would rather blow away any serious concern with the flutter of an eyelash. When Stanley pushes her, she claims it’s too much for a girl educated only in the school of charm to handle. When Hank discusses the vitally important topic of the safe disposal of nuclear waste, Carly slyly manages to bring the conversation down to the topic of her breasts. These outbursts typically get others involved in the ongoing melodrama that provides a continual distraction.

Similar to the Narcissist, the Histrionic is uncomfortable when not the center of attention. They are ill at ease when not expressing their emotions and they never miss an opportunity for theatrics. It’s their cue to enter the spotlight. Silence or withdrawn behavior, such as that of Brick in A Cat on a Hot Tin Roof, frequently achieves the same results as an overblown dramatic scene. Brick's refusal to come downstairs to Big Daddy's birthday party has made him the center of attention. In Denton (the "Home of Happiness"), Dr. Frank ‘N Furter (an illegal immigrant from the planet Transsexual) runs rampant in his overwrought castle. He seduces men and women alike, indulging in everything from incest and cannibalism to production numbers. He captivates followers to witness the unveiling of his experiment to create the perfect sex slave-hung, blond, and mute (fulfilling the Histrionics' greatest fantasy: creating a world the way they see it). He will stop at nothing to be the center of attention, from donning women's underwear in public to dry-humping gym equipment in front of guests: anything he can do to win the hearts of the crowd through the audacity of a performance. Throughout Blue Sky, Carly manages to find herself in the spotlight. She entertains naked on the beach, disrupts a parade, and rides horseback into a nuclear test sight. When Alan Swann passes out, he does not do so quietly but only after attempting gymnastics and then only after he has distracted everybody in the room. He does not care about the kind of impression he makes, as long as he makes an impression. "They always love big entrances," he believes.

The Histrionic oftentimes attracts crises, and if there is no spotlight, no grand emotional moment for the taking and exploiting, the Histrionic commonly has no compunction with creating one, no matter how inappropriate. Sally Bowles (Cabaret) loudly announces her pregnancy in the hush of a crowded library. Carly knows not only a sure way to stop a nuclear test, but also where the news cameras will be. She rides a horse into the middle of the test site in a lovely top that accentuates her handsome shoulders. When the test is aborted, she seems unsatisfied. She may have prevented the contamination of the Nevada desert, but it holds little interest compared to the flashbulbs aimed at her as she dismounts the horse. The egomaniacal sexpot and Hollywood silent film star, Lina Lamont rides through her scenes in Singin’ in the Rain like a tornado, an ear numbing, screeching tornado. Jean Hagen's much honored performance as Lina (a movie star with a voice to make dogs howl and obviously not suited for the approaching talkies) is on a Histrionic rampage. She takes no prisoners in her soon-to-be lost quest to remain the center of attention. Courageous Albin in La Cage aux Folles (Albert in The Birdcage) is not content to quietly sit and simply offer up an everyday, run-of-the-mill "mother" for a scheme designed to deceive his conservative in-laws to be. No, he finds himself compelled to pull out all the stops and present the ultimate mother of all good mothers: head of the definitive moral family. The Histrionic rarely does anything small and results are rarely what they imagined. The secret to great comedy.

There tends to be a high degree of repetitive behavior with Histrionics. This further aggravates the perceived lack of authenticity of their actions as those around them see the same patterns (perhaps with the same life scripts and scenarios) repeated over and over again. After Carly has lost her husband yet another post, she promises to be good the next time. "That's what you said the last time," Hank responds. Carly's behavior is no surprise to anyone who has known her long. Alan Swann's hedonistic ways are not news to anyone. In truth, Swann's behavior is so much of a public concern that he is anything but hirable. When Benjy admits to being a little worried, Alan expresses shock. "A little worried?" Swann asks. "I'd have thought my reputation would have warranted major concern." As for poor Blanche Dubois, it is discovered that she is not nearly as genteel as she would believe. Instead, she is fleeing in disgrace after another scandal involving the seduction of another young boy.

Histrionic Personalities often suffer from Disassociative Episodes and these episodes almost always show up in a pivotal scene. A disassociative episode occurs when stress becomes too high to manage with more adaptive defenses. In a disassociative moment, they separate thoughts, feelings, and actions. They react in an unconscious manner. They may reflexively act provocatively, but are unaware of any sexual thought or feeling. Carly bumps and grinds and all but uses her tongue when dancing with Hank's boss, Colonel Johnson. To make matters worse, she does this not only in front of her own husband, but in front of Mrs. Johnson as well. "It didn't mean anything, you know that," Carly tells Hank after she has taken her provocation to its logical extreme and bedded the Colonel. Blanche Dubois plays her flirting sexuality to not only gloss over the unpleasantness of her past but to attract Stanley and win a dominant place in her sister's household.

A displacement of feelings and thoughts often occurs when Histrionics are present in a setting in which they do not belong. Carly blows up when she sees that her new home is a hovel. Compared with the paradise that she has been forced to leave, things appear to be quickly going downhill. Carly runs off, with Hank in hot pursuit. When he corners her, she venomously berates him. She tells him to keep his "filthy contaminated hands" off her. Clearly she is reacting to something perhaps deeper and more incestuously traumatic than the current relocation of her household. Blanche, about to be taken away to an asylum, graciously offers her hand to the committing doctor and tells him that she has "always depended on the kindness of strangers." Misplaced grace, certainly, in such squalid circumstances.

Other common defenses in the Histrionic pantheon are defined (for purposes here) in five basic defenses. These defenses are:
º Regression
º Reaction Formation
º Denial
º Acting Out
º Conversion
Regression occurs when the Histrionic Personality finds himself faced with fear-inducing situations and insecurity. As a result, he is likely to become helpless and childlike. When Carly makes a mess out of an evening at the (appropriately enough) "mess" hall, Hank upbraids her. She counters this by slapping him. Hank is not playing. When Carly realizes that she is being faced with an actual adult confrontation, she melts and leaps into his arms, crying, "Take me, Daddy." When Alan Swann finds himself in a situation that he cannot flirt himself out of (such as being scolded by Benjy’s mother for his irresponsible treatment of his only daughter), he further retreats from responsibility. His response is to get even more drunk, swashbuckling his way into society parties where he has not been invited.
Reaction Formation. In order to circumvent an unacceptable idea or impulse, Histrionics adopt behavior that is diametrically opposed to what they fear. They behave seductively when unconsciously they dread sex. They behave as an exhibitionist when they are in reality ashamed of their bodies. Examples: the righteously zealot politician or clergyman who privately is morally corrupt.
Denial. A direct rejection of overwhelming stimuli that is usually coming from the external world-as with Blanche's fabled stories about her past and her unwillingness to face its tragic truth.
Acting Out is the need to take action against internal stimuli that is anxiety provoking as is seen in the case of the as-handsome-as-he-is-aimless Brick (Cat on a Hot Tin Roof) and his eternal alcoholic search for "the click.” This click is the avoidance of Brick's true reason for not having sex with his wife, Maggie.
(It should be noted here that in referencing the film Cat on a Hot Tin Roof, it is done with a nod more toward the intentions of the playwright Tennessee Williams and his original stage play than what actually ended up on screen. The moral code existing in 1958 did not allow the filmmakers to address the issue of homosexuality the way Williams had intended. To its credit, and noteworthy of Richard Brooks and James Poe's screenplay, is that rather than change the point being made by author Williams, their script did the best it could to avoid what, so many years later, seems not only obvious.)
Conversion. The symbolic representation of an internal conflict in physical terms. Perhaps best glorified time and again in any number of Woody Allen's characters. The constant whining about ailments in order to avoid doing the inevitable.

Within relationships there is frequently a high propensity for role-playing: Albin plays wife to Renato (La Cage Aux Folles, The Birdcage); Arthur’s incorrigible, spoiled little boy to Hobson (Arthur); Leon’s desire and devotion to be all the woman Sonny will ever need (Dog Day Afternoon). Their relationships can be highly sexualized. They often see themselves mainly as objects of sexual desire. Sometimes it is the only way they know how to relate to the world around them. All three primary film characters (Carly, Blanche, and Alan Swann) can barely utter a sentence without it being laden with innuendo. Carly thrives in her role as vixen. The only way she relates to her daughters is as a fellow girl concerned about boys. Blanche lures a completely bewildered delivery boy in a flutter of powder and musty gentility, insisting that he is her long anticipated gentleman caller. Alan reflexively finds the prettiest girl in any given room. He immediately proceeds to seduce her as all other concerns fall to the wayside.

The opposite sex-or the sex with which they seek to be intimate-is consciously important. Unconsciously they are the targets of hostility. The Histrionic habitually overvalues the importance of the opposite sex. Their relationships are customarily marked by a repetitive or game-like quality. Carly repeatedly misbehaves to such a degree that the family must frequently relocate. She doesn’t see herself as responsible for this, though it is perfectly clear to her adolescent daughters and husband. She has gotten away with it as long as she has by pouting and seducing Hank before he raises any serious issues. She promises to be a good girl the next time. Blanche finds herself forced to relocate regularly, plagued by scandals of her own making. Alan's drinking and carousing and his inability to distinguish real life from his period movies has given him a deservedly notorious infamy that his actions do little to dispel. It is a pattern familiar with Histrionics: sexual seduction followed by either submission or by rage or forceful rejection.

Histrionics (similar to the Borderline Personality) may also exhibit a split between those prospective sexual partners who excite and stimulate sexual arousal and those who instead stimulate heartfelt affection. They have two very different sets of needs that must be met, and the nature of these two demands dictates that a single person rarely meets them. If they could have sincere affection and their sexual agenda satisfied, it would leave the Histrionic feeling vulnerable . . . and being vulnerable is too close to the scenario of their initial injury.

When the Histrionic finds a partner, they oftentimes become dependent on the other person and view their partner's needs as being more important than their own. "Are you going to be happy?" Hank asks Carly. "Only if you still want me," she replies. Dependent on and drawn to powerful individuals, they find themselves repelled by weak ones. They seethe with righteous indignation at their very existence. How dare they be so weak as to not be able to tame the libidinal and emotional excesses that they (Histrionics) foster?

With members of the same sex-or members of the sex in competition-the Histrionic Personality is often less than charitable. They view these individuals as a threat, as rivals. Since the Histrionic Personality sexualizes relationships, those with the same talents-if not (as in Dr. Frank-N-Furter's case) the same sex organs-have little purpose for them except to get in the way. Blanche is very dismissive of Stella-sending her out on errands for "lemon cokes with plenty of chipped ice." She treats her not unlike she would a servant. She expects to be waited on by her sister. By degrading her, Blanche undermines Stella's position in the household and makes it easier to vie for the available males. Alan Swann, a walking encyclopedia of suave matinee idol clichés, uses all his rehearsed and weary charms to take any and all females from whomever. One of the most attractive qualities a girl can have for Alan Swann is a husband or boyfriend. He seems to choose his conquests solely on their potential for alienation of their men. The more dangerous the spouse, the more desirable the woman.

Following this course of action, the Histrionic character tends to drift toward triangles-triangles either as the other woman, or with two men with whom she can play alternate roles. The resultant turmoil serves a defensive function. It keeps things at a high boil so as to avoid any soul searching. Blanche becomes the other woman in her sister's marriage. Carly beds Colonel Johnson, pitting him against Hank. Alan Swann alternately tries to weasel his way into K.C.'s affections and then (with almost disastrous results) those of a gangster's moll.

Histrionics customarily long for an exciting but safe male to protect them. Seldom do “exciting” and “safe” occur in the same partner. They are therefore infamous for cultivating alternating relationships. In the first instance, they may play the coquette: naive, sweet, kittenish. In another setting they may play the vixen de luxe: the evil, man-eating seductress.

As with the Borderline, Histrionics may split and involve themselves with caring, older, but non-arousing men. Then suddenly they switch. They find themselves a cruel, mean, yet very stimulating man. For men, this tendency oftentimes indicates the "Madonna/Whore" syndrome. They block these inconsistencies and keep the cycle going, keeping the revolving themes of blackguard/victim and nurturing parent/helpless child going. These rapid shifts safely fulfill their desire for an idealized parent and the treatment of these parents as sex objects. This frequently indicates the actual scenario of their childhood. Sexual abuse is not uncommon.

The Histrionic can also prove to be empathic to the weak, the suffering, and the abandoned. Their nurturing reflects the absence of nurturing they themselves received as children. Carly, despite her fits of destruction and strip-tease floorshows, is a very attentive, caring, and available mother. She appreciates her daughters' distinct personalities and fosters their growth as strong, independent individuals. Blanche Dubois states it ever so succinctly: "Sick people have such deep sincere attachments." Histrionics can relate to the weak and the put-upon and are only too willing to take on the role of nurturer. Margo (All About Eve) Channing's downfall is letting Eve Harrington into her life. By the time she decides to fight back, it’s too late. By the end she gives up. What is significant is that she gives up for an important difference between the Histrionic and the Narcissist. She gives up for the sake of love.

The childhood of the Histrionic Personality is vital to understanding them, because much of their behavior will be repeated in the present. The disorder customarily stems from a damaging relationship experienced with their parents. Fathers (and sometimes mothers) are central players in the stories of the Histrionics that constitute Arthur, Blue Sky, Cabaret, Cat on a Hot Tin Roof, My Favorite Year, Postcards from the Edge, Terms of Endearment, The Turning Point, and A Torch Song Trilogy.

In the early home life, the father figure (or mother figure) may have been seductive, emotionally infantile, and incestuous. This may have happened either covertly or overtly, the distinction here being the difference between innuendo or ambiguous physical attention and outright sex acts. This type of behavior repeatedly continues into adulthood. The father (or mother) does not desist with the advances. They continue sharing the intimate details of their sex life, off color jokes, or symbols of special affection more appropriate to lovers than to children.

More often than not, the home life is one of isolation, either geographically (the insular world of Belle Reve) or socially, as seen in the fact that Carly's father was in the diplomatic corps. As a member of the Armed Services they moved frequently, preventing the family members from establishing close ties outside their nuclear unit. This means that the immediate family circle usually satisfied the child's entire needs. It also established the father's position of dominance. In Blue Sky, this behavior is repeated with Carly's own family: the Histrionic pattern of repeating history.

The exploitation of the child is highly damaging, but it also bestows on the child a special place in the abusive parent's eyes. This special attention, which gives them a primacy of place with the parent, may be highly over stimulating to the child and unable to be productively integrated into their burgeoning psyche. The nascent Histrionic commonly resorts to hysteria to deal with family corruption. Corruption (by its very nature) demands that the most powerful prey on the least powerful. In this instance, the child will be left to shoulder the lion's share of the blame.

The male Histrionic may have also suffered from maternal depravity due to a hysterical or rigid mother and may look to his father to satisfy his emotional needs. If the father (who may as well be suffering from severe deprivation) accepts the male child’s longings, the male child may become "Daddy’s Little Boy." The male Histrionic can then suffer from the same neurotic tendencies as his female counterpart. Brick (A Cat on a Hot Tin Roof), despite all the hopes and dreams he has managed not to live up to, is Big Daddy's favorite and always will be.

In males, Daddy’s Little Boy may become highly competitive with his father in order to gain his love and approval. The male child may reject the father and discontinue his pursuit when he realizes he is powerless to compete with his father, or he may become frightened by his longings for his father. As a result, he may pursue celibate pursuits (such as the priesthood) to unconsciously maintain unwavering loyalty to his mother. In such a manner, he may look for other male avenues of approval through hyper-masculine, male-bonding activities (such as bodybuilding or contact sports). Sadly, the direction such a male takes is often the relentless and abusive pursuit of women. All this may be done to ward off feelings of inferiority and femininity caused by the inter-dynamics with the father. His heterosexual relationships may be centered on his desire to prove himself as superior to his father and ward off his hysterical homosexual panic.

When these powerful and confusing feelings emerge (especially in a world that is highly polarized and does not encourage diluted boundaries), repression or projection as acting out becomes necessary. This occurs in order to relegate these feelings back into the unconscious. If stress and pressure from everyday life begin to build up and a mastery of life comes into question, feminine feelings may emerge. When this occurs, feelings may surface in the form of a need for closeness with those of the same sex (again, the excessive male bonding or hyper-masculine activity). This is led by a strong desire to find from other men a form of security, love, and empathy. As these needs manifest, they are often interpreted as homosexual feelings and a man's own self-identity may be threatened. As the fragile self is internally attacked, this threat can rise to such an extent that self-hatred and revulsion may manifest in the form of a hysterical projection of intense rage or paranoid terror. When Brick explodes with anger in the basement, he rages at Big Daddy and the "mendacity" of their lives. What Brick actually wants to express is his love to both his father and his fallen friend.

The character arc of Carly Marshall in Blue Sky accurately follows the arc of a Histrionic Personality. Few films do it as well as this small, wonderful gem. Blue Sky is that rarity in which the Histrionic character is the journey.

When we first see Carly, she is securely defined with an establishing shot of her personality and the attendant conflict. She gambols nude in the surf, hyperaware of the helicopter flying overhead and the servicemen inside. The conflict escalates when Hank returns home from a reprimand that his job is threatened (again) by his wife's behavior. He finds her in the backyard. Carly is dressed in a fashion that would be the envy of any courtesan, performing seductively for a visiting battalion of Frenchmen. Carly, we quickly learn, is in denial that she is responsible for all the upheaval in her family. The goal of maturing, of claiming that responsibility, is set up for her.

The first major plot point is at the end of the First Act. Carly has a psychotic break and smashes up the family's new barracks. It is a home that appears to be nothing short of an ascent into hell. Hank manages to placate her and she resigns herself to her new surroundings. All the conflict that will arise in the film is set in motion. We are given a glimpse of Carly's destructive behavior as well as the regressive issues of possible abuse by her father (abuse inferred in that she calls her husband "daddy" before telling him not to touch her).

The obstacles in the Second Act are sown. Her tendencies to act rashly (with its usual destructive results) and her attraction to powerful men (preferably in uniform, who serve as father figures) all serve to trip her up along the way. She is not helped either by her unconscious belief that she is nonexistent except in the regard of men or by her immature and avoiding behavior. She alienates her family and new friends. She flirts injudiciously with Hank's superior officer. Not heeding the disastrous results that will inevitably ensue, she places her husband in deep trouble with the army on yet another count. This time a mere transfer to another base will not suffice. Hank is committed to a mental hospital.

The significant second plot point occurs when Carly is forced to look beyond herself. She is forced to give up playacting or risk forever losing everything that she has. The end of Act Two leaves Carly with her husband incarcerated and no one to rely on. She is forced into the role of responsibility that she has her whole life managed to avoid. She must finally act with a clear head and maturity or her family will be destroyed.

In Act Three, she realizes what her responsibilities are and must find the strength and self-reliance to take on the challenges. She learns to act instead of being acted upon. She realizes that it is she who is solely responsible for her family's upheavals. She learns to use her rage in productive ways-ways that will serve to not only get Hank released from the hospital, but also to serve his cause of drawing attention to the harmful testing of nuclear weapons.

The last glimpse we catch of her shows her with her newest look: the glamorous hair-do of Elizabeth Taylor. We see that she has become a grown up woman. Carly has matured (as did American culture at this point) from the blond, ineffectual, male-defined pinup of her Marilyn Monroe into the dark-haired, self-sustained, and independent woman. Though she is still Histrionic, she has made some progress. This is an important, realistic touch to the film and one that serves the story well. It would take a lot more to undo all the entrenched damage she still harbors. Though still Histrionic, she has at least taken on as a role a more independent, active model-one that shows some desire for responsible behavior.

QUALITIES AND QUALIFICATIONS THAT DEFINE THE HISTRIONIC PERSONALITY:

A pervasive pattern of excessive emotionality and attention seeking.

Their personalities frequently seem inauthentic and melodramatic.

Histrionic Personalities are usually unhappy or uncomfortable in situations where they are not the center of attention.

Their behavior is customarily categorized by flagrantly sexual, seductive, or provocative actions, no matter what the setting or specific interaction.

Histrionics consistently use their physical appearance - in particular their sexual allure - to draw attention to themselves.

They regularly view themselves as sex objects.

They tend to rely on their appearance for social acceptance.

The expression of emotions of the Histrionic is generally shallow, and equally often tends to shift rapidly.

They repeatedly become distracted or despondent when careful thought and consideration are required.

Histrionics are intensely theatrical and are prone to exaggerated, stagy expressions of emotions and self-dramatization.

Judgments are recurrently rash, harsh, and based on the visual.

They are easily swayed by the influence of others and by circumstance - they are highly suggestible.

They commonly consider - and treat - relationships as much more intimate than they may be.

Personal relationships are frequently arranged in triangles.

They often do not see themselves responsible for what happens to them.

They very likely suffer from disassociative episodes.

Common defenses: regression, denial, acting out.

There is a high propensity for role-playing.

NOTEWORTHY CHARACTERISTICS OF THE HISTRIONIC PERSONALITY

SPEECH
Prone to florid exclamations, dramatics, and excessiveness. What it will generally lack is details and specifics.

PROFESSIONS
Oftentimes in entertainment, fashion, beauty, teaching, sales-or (to quote Blanche) professions are found with "the kindness of strangers." It would be extremely rare to find this type of personality as a surgeon, scientist, or CEO.

DRESS
A tendency to be flamboyant, flashy, loud, abrasive, and seductive. Jewelry, colors and design that bring attention are customarily worn. Notable examples are found in the characters of Blanche, Carly, Helen Sinclair, Aurora, Albin, Tina, Sally Bowles, Auntie Mame, and Dr. Frank N Furter. There is not a costume amongst them that does not feature a couture that captures the consistently fluctuating, almost ethereal nature of their personalities.

HEALTH
Consistently vocalized. Pains and woes are regularly mantras. Histrionics complain a great deal about bodily problems, women's problems, "the vapors", fainting, persistent concerns about weight, aging and appearance.


POPULAR CLICHÉS OF THE HISTRIONIC PERSONALITY
A women's intuition.
A woman's right to change her mind.
Life of the party.
Bed Hopping.
Daddy's Little Girl.
The Diva.
The Drama-Queen.
The Tough Guy. The Macho Man.
The Femme.
The Stud.
Theatrical.
Melodramatic.
Artificial.
Overdone.
Fake.
Overwrought.

SIMILAR PERSONALITY STYLES OF THE HISTRIONIC PERSONALITY

THE NARCISSISTIC PERSONALITY
THE BORDERLINE PERSONALITY

VIEWING SUGGESTIONS OF THE HISTRIONIC PERSONALITY

All About Eve (1950) - Drama, 138, No rating.
A great opportunity to see a Histrionic (Davis) go head to head with a Narcissist (Baxter). Both Davis and Baxter were nominated for Best Actress Academy Awards. The film was nominated for nearly every category. Fourteen nominations, it won six Oscars including the wickedly brilliant script.

Arthur (1981) - Comedy, 97, Rated PG.
Dudley Moore's Academy Award nominated performance as Arthur Bach. Also Oscar nominated for the deft writing.

Auntie Mame (1958) - Comedy, 143, No rating.
Banquet philosopher, Mame (Rosalind Russell).

Beaches (1988) - Drama, 123, Rated PG-13.
Bette Midler as C.C. Bloom. A good example of the damage wrought by histrionic behavior.

The Birdcage (1996) - Comedy, 119, Rated R.
Nathan Lane as Albert. One of the better (and more successful) American adaptations of a French film. See La Cage aux Folles.

Blue Sky (1994) - Drama, 101, Rated PG-13.
Jessica Lange's Academy Award winning turn, Carly Marshal. A brilliant creation.

Bullets Over Broadway (1994) - Comedy, 99, Rated R.
Dianne West as the histrionic actress, Helen Sinclair. Allen was Oscar nominated for some of his most honest, free-spirited writing.

Cabaret (1972) - Musical/Drama/Dance, 128, Rated PG.
Sally Bowles, a Histrionic doing her best in the most Narcissistic of all worlds, Hitler's Germany. Perhaps the best adaptation of a stage musical to the screen. Pure gold. Nominated for ten Academy Awards, it received eight. The two it lost-Screenplay (based on material from another medium) and Best Picture went to the film that lost everything else to Cabaret-Francis Ford Coppola's, The Godfather.

Cat on a Hot Tin Roof (1958) - Drama, 108, No rating.
Oscar nominated Paul Newman as Brick. One of the few films offering the "quiet male" version of the Histrionic Personality. Though the movie does not have the mettle to live up to William's full intentions, it is much better than might be expected from a homophobic Hollywood. Nominated as well for the writing.

Dog Day Afternoon (1975) - Crime, 130, Rated R.
Chris Sarandon's Academy Award nominated performance as Leo. Frank Pierson's writing, a devastating character study won the Oscar for the Best Screenplay.

Funny Girl (1968) - Musical/Biography, 155, Rated G.
Histrionics' are nothing new for Streisand. Here, perhaps better than others because it was the first.

Kiss of the Spider Woman (1985) - Drama, 119, Rated R.
William Hurt's award winning performance as the fey Molina. Oscar nominated for Leonard Schrader's screen adaptation.

La Cage aux Folles (1978) - Comedy, 91, Rated R.
Michael Serrault's priceless performance as Albin ("Zaza"). See The Birdcage. Oscar nominated for the screen adaptation.

My Favorite Year (1982) - Comedy, 92, Rated PG.
Peter O'Toole in an Academy Award nominated performance as Alan Swann.

Nashville (1975) - Drama, 159, Rated R.
Ronee Blakely's award nominated performance, Barbara Jean.

Postcards From the Edge (1990) - Drama/Comedy, 101, Rated R.
Two rich and shaded performances from mother and daughter displaying histrionic traits.

The Rocky Horror Picture Show (1975) - Musical/Horror/Dance/Comedy, 95, Rated R.
The four-part genre description possibly says it the best. A bit of everything. Offers remarkably clear (if cartooned) examples.

The Royal Family of Broadway (1930) - Drama/Comedy, 82, No rating.
Life in the theater.

Singin' in the Rain (1952) - Musical/Dance, 102, No rating.
A movie that pays homage to the Histrionic in many disguises. Pay attention to Jean Hagen as Lina Lamont, the bombshell-leading lady. Not surprisingly, an Academy Award went home to her mantle.

Stardust Memories (1980) - Comedy, 91, Rated PG.
The concept here is celebrities-in-residence-weekend resort. The famous and their fans.

A Streetcar Named Desire (1951) - Drama, 122, No rating.
Oscar winner Vivian Leigh as Blanche Dubois and Williams' nominated screenplay.

Terms of Endearment (1983) - Drama/Comedy, 132, Rated PG.
Shirley MacLaine in her Academy Award performance as Aurora Greenway. Director James L. Brooks also took home an Oscar for his direction and screen adaptation.

To Be Or Not To Be (1942) - Comedy, 99, No Rating.
Wonderful classic offering backstage life during the war. A priceless performance from Jack Benny.

Torch Song Trilogy - (1988) Drama, 177, Rated R.
Solid adaptation by Harvey Fierstein, from his stage play. Concerning the life and times of a New York drag queen.

The Turning Point (1977) - Dance, 119, Rated PG.
Classic theater characters annoying other people's lives. Nominated for some wonderful writing. Interesting Oscar worthy film-nominated for eleven Academy Awards, it received none.

Victor/Victoria (1982) - Musical/Comedy, 133, Rated PG.
Leslie Ann Warren's spirited (as well as nominated) performance, Norma. The performance and the character have both wisely taken their cue from Singin' in the Rain's Lina Lamont.