表演藝術(shù)家在童年期經(jīng)歷精神虐待的幾率更高

Performing artists who were exposed to abuse,neglect or a dysfunctional family as a child might experience their creative process more intensely,according to a new long-term study that has found a link between the two.

一項長期研究發(fā)現(xiàn)，表演藝術(shù)家的創(chuàng)造力和童年經(jīng)歷存在聯(lián)系——童年不幸者(如被虐待、被忽視、家庭不和睦)更富創(chuàng)造力。

Psychologists at California State University,Northridge,studied 234 professional performers,looking for a reason why mental health disorders are so common in the performing arts.

美國加州州立大學北嶺分校的心理學家調(diào)查了234名專業(yè)表演家，尋找表演藝術(shù)家心理健康問題頻發(fā)的原因。

"The notion that artists and performing artists suffered more pathology,including bipolar disorder,troubled us,"psychologist Paula Thomson,a co-author on the new study,told Psypost.

這項新研究的作者之一、心理學家寶拉·湯姆森告訴Psypost網(wǎng)站說：“藝術(shù)家和表演家更容易患上躁郁癥等心理疾病，這讓我們感到困擾。”

The study examined 83 actors,directors,and designers;129 dancers;and 20 musicians and opera singers.These study participants filled out self-report surveys pertaining to childhood adversity,sense of shame,creative experiences,proneness to fantasies,anxiety,and level of engagement in an activity.

該研究調(diào)查了83名演員、導演和設計師、129名舞者、20名音樂家和歌劇演唱家。這些參與者填寫了有關(guān)童年不幸、羞恥感、創(chuàng)作體驗、幻想傾向、焦慮和活動參與度的自陳報告。

The study found that,compared to the original Adverse Childhood Experiences study conducted back in 1998 on 9,508 adults,performing artists as a group reported a higher level of childhood emotional abuse and neglect.

1998年，研究人員探究過9508位成年人的童年不幸經(jīng)歷。他們對比兩項研究結(jié)果后發(fā)現(xiàn)，相較于普通人，表演藝術(shù)家在童年期經(jīng)歷精神虐待和忽視的幾率更高。

The participants were able to be categorised into three groups:those who reported a high level of childhood adversity;those who had experienced a lower or medium level;and those who had experienced little to none.

這回，研究人員根據(jù)童年不幸程度，將調(diào)查對象分為三組：高程度(非常不幸)、中低程度(比較不幸)、零程度(幾乎沒有經(jīng)歷過不幸)。

It's the high-level group that demonstrated the greater extremes.These performing artists had much higher anxiety,much more internalised shame,and reported more cumulative past traumatic events.They were also more prone to fantasies.

研究發(fā)現(xiàn)，高程度組情況最極端。這些表演藝術(shù)家明顯更焦慮、更具主觀羞恥感、經(jīng)歷過更多創(chuàng)傷事件、更容易陷入幻想。

But they also seemed more connected with the creative process,the researchers said.They were more aware of it,and reported feeling more absorbed in it.They reported heightened awareness of a state of inspiration and a sense of discovery during the process.

但研究人員指出，同時，他們似乎也更富有創(chuàng)作力。他們更具創(chuàng)造意識，更容易沉浸其中。他們更常迸發(fā)靈感，在創(chuàng)作過程中也更常發(fā)現(xiàn)新事物。

They were also able to move more easily between the state of absorption and a more distant state for critical awareness,and were more receptive to art.

此外，他們能夠更輕松地在“沉浸其中”和“跳脫出來進行批判”這兩種狀態(tài)之間進行切換，對藝術(shù)的接受能力也更強。

"Lastly,"the researchers wrote,"[this]group identified greater appreciation for the transformational quality of creativity,in particular,how the creative process enabled a deeper engagement with the self and world.They recognised that it operated as a powerful force in their life."

研究人員寫道，“最后，這一人群更重視創(chuàng)造力的轉(zhuǎn)換特性——創(chuàng)作過程使他們和自我、和世界聯(lián)系更緊密。他們認為，創(chuàng)作是他們生活中的一股強大力量。”

Obviously the study has caveats,as self-reported studies can be prone to personal bias.Also,since it was limited to performing artists,comparisons couldn't easily be made with other subsets of the population.

顯然，這項研究存在一些缺陷。首先，自我報告法容易產(chǎn)生主觀偏差。其次，調(diào)查對象僅限于表演藝術(shù)家，結(jié)論未必適用于其他人群。

Nevertheless,the finding,the researchers said,may indicate that adult performers who have experienced childhood adversity are better able to recognise and value the creative process;and the ability of that group to enjoy the creative process could indicate resilience.

研究人員指出，結(jié)果顯示，童年不幸的表演藝術(shù)家更認可和重視創(chuàng)作過程，他們能享受創(chuàng)作過程或許也是他們適應生活的手段。