研究發(fā)現(xiàn)：童年不幸者更富創(chuàng)造力

貝多芬小時(shí)候經(jīng)常被父親打耳光，梵高的童年是在父母的冷眼中度過(guò)的，這些不幸的經(jīng)歷居然和他們后來(lái)的成就有關(guān)系!研究人員發(fā)現(xiàn)，童年痛苦的人長(zhǎng)大后往往更容易表現(xiàn)出非凡的創(chuàng)造力和藝術(shù)天分，不過(guò)，他們的心理健康問(wèn)題也更嚴(yán)重。

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(xiàng)長(zhǎng)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(guó)加州州立大學(xué)北嶺分校的心理學(xué)家調(diào)查了234名專(zhuān)業(yè)表演家，尋找表演藝術(shù)家心理健康問(wèn)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(xiàng)新研究的作者之一、心理學(xué)家寶拉·湯姆森告訴Psypost網(wǎng)站說(shuō)：“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(dǎo)演和設(shè)計(jì)師、129名舞者、20名音樂(lè)家和歌劇演唱家。這些參與者填寫(xiě)了有關(guān)童年不幸、羞恥感、創(chuàng)作體驗(yàn)、幻想傾向、焦慮和活動(dòng)參與度的自陳報(bào)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(guò)9508位成年人的童年不幸經(jīng)歷。他們對(duì)比兩項(xiàng)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(duì)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(méi)有經(jīng)歷過(guò)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(guān)羞恥感、經(jīng)歷過(guò)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(shí)，他們似乎也更富有創(chuàng)作力。他們更具創(chuàng)造意識(shí)，更容易沉浸其中。他們更常迸發(fā)靈感，在創(chuàng)作過(guò)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(lái)進(jìn)行批判”這兩種狀態(tài)之間進(jìn)行切換，對(duì)藝術(shù)的接受能力也更強(qiáng)。

"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(xiě)道，“最后，這一人群更重視創(chuàng)造力的轉(zhuǎn)換特性——創(chuàng)作過(guò)程使他們和自我、和世界聯(lián)系更緊密。他們認(rèn)為，創(chuàng)作是他們生活中的一股強(qiáng)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(xiàng)研究存在一些缺陷。首先，自我報(bào)告法容易產(chǎn)生主觀(guān)偏差。其次，調(diào)查對(duì)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(rèn)可和重視創(chuàng)作過(guò)程，他們能享受創(chuàng)作過(guò)程或許也是他們適應(yīng)生活的手段。

"We are saddened by the number of participants in our study who have suffered multiple forms of childhood adversity as well as adult assaults (both sexual and non-sexual)," Thomson told Psypost.

湯姆森告訴Psypost網(wǎng)站說(shuō)：“參與我們研究的很多人童年時(shí)期都經(jīng)歷過(guò)多種不幸和來(lái)自成年人的性侵或其他攻擊，這讓我們很傷感。”

"So many participants in our sample have experienced poly-traumatization and yet they also embrace their passion for performance and creativity. They are embracing ways to express all that is human."

“我們采樣的對(duì)象中有這么多人經(jīng)歷過(guò)多重精神創(chuàng)傷，但他們卻依然富有表演和創(chuàng)作的激情。他們努力用各種方式表達(dá)出人性的一切。”

The research has been published in the journal Frontiers in Psychology.

該研究報(bào)告發(fā)表在《心理學(xué)前沿》期刊上。