T he nonverbal depict ion of drive (Kestenberg and Sossin, 1979) was especially useful i n w o r k i n g w i t h C a r l . A s I noted i n chapter 10, the Kestenberg Movement Profile (Kestenberg and Sossin, 1979) refigured drive theory. A s seen i n the K M P , drive is a physically manifest vector of psyche-soma funct ioning that vis ibly and kinesthetically shapes i n d i - viduals ' behaviors. The tension-flow rhythms can be seen as mixtures of rhythms typical of drive phases-oral, anal, urethral, inner genital (uterine or scrotal), and outer genital (clitoral or phallic) . These mixtures give characteristic shape to an individual 's behavior, w h i c h evokes responsive behavior f rom others, and such action-reaction reshapes the drive behavior itself. In this way interactive sets forms particular to the drive configurations of the participants. The motoric manifestation of drive unfolds developmental ly as i n Freud's (1905a) conception, but each drive phase's intensity and clarity are also inf luenced by the individual 's temperament. A s - pects of drive development are enhanced or muted, depending on the exist ing basic repertoire of rhythms and temperamental characteristics. For example, a person may be b o r n w i t h urethral tension-flow inclinations. In that case, movement attributes required i n the urethral phase w i l l be pronounced and, depending o n h o w they are met by parental handl ing , w i l l be enhanced, reduced, or remain the same i n the individual 's repertoire as the person goes o n to later stage development. Car l struggled w i t h a cluster of problems that prompted his seeking treatment. H i s first concern was his diff iculty reconci l ing earning a l iv ing w i t h his a im to be an actor. H e also wanted to work o n problems he experienced w i t h w o m e n . H e could
easily and quickly become involved w i t h a w o m a n but found he wanted to be o n his o w n as soon as he secured a relationship.