This paper examines the Eileen Chang（1920-1995）short fiction ”The Golden Cangue” and Irvin D. Yalom (1931-) ”Lying on the Couch: A Novel” as primary texts. In the first part, Qigiao would be examined as the representative figure of ”extreme pathology” in Chang's fictions, while referring to the psychoanalytic case of Doctor Seymour Trotter and patient Bella in Yalom's novel. Referring to Sigmund Freud's (1856-1936) ”transference” and Carl Gustave Jung's (1875-1961) ”synchronicity,” I would juxtapose Qugiao and her children as well as Seymour and Bella in different couch, both similarly wave delicate and bizarre ”diagram of psychological therapy” in the ceremony of ”clinical alliance.” In the second part, the sharing ”commonality” within human beings in different worlds, the ongoing processes of their connecting, and the consequence of their connection would be explored. Further, since both Irvin's and Chang's figures share somewhat similar as well as different psyches, the paper would adopt Bronislaw Malinowski's ”coefficient of weirdness” to interpret their characters' minds. Malinowski (1884-1942)a Poland social anthropologist, termed and introduced this theory in his own ethnical field investigation. In his definition, ”coefficient of weirdness” is due to the different and then distorted viewpoints of the authors in their specific cultural backgrounds and contexts. The specificity is rooted from the author's ethical or gender contexts, which provides the refreshing visions; however, in Malinowski's point of view, we need the ”commonality” in our connection with people in different worlds. Therefore, I would try to interpret the ”commonality” in both Chang's and Irving's fictions as their psychical games and their theatricality. Since Malinowski's ”coefficient of weirdness” provides a new way of seeing, I would attempt to conclude that such ”theatricality of psychopathical development” is the best example and practice in the claim: ”Psychopathy is the origin of art.”