Empathy and Dissociation in the Creative Trance
Tobi Zausner
Cambridge University Press eBooks June 2, 2022 DOI: 10.1017/9781108769280.005 (opens in new tab)
Study at a glance
AI-extracted from the abstract| Characteristics | Theoretical or philosophical paper Peer reviewed |
|---|---|
| Key points | Argues that the creative trance is structured by domain, cultural traditions, personal preferences, and rules, and that it fuses two opposites: empathy, which connects the creator to the work, and dissociation, which separates the trance state from waking consciousness. Cites examples from sports, Stanislavski's acting system, Bell, Dickens, Puccini, and cross-cultural ritual trance possession to support this framework. |
Abstract
Empathy and dissociation form a paradoxical and dynamic fusion of opposites in the creative trance. Inherently structured by its domain, cultural traditions, personal preferences, and rules to achieve excellence, the creative trance is an experience of empathy connecting the creative person with the work produced, while dissociation separates the trance state from waking consciousness. Empathy can enhance sports performance by intuiting the moves of an opponent. Stanislavski’s system of empathic acting revolutionized film and theater, and in science, Alexander Graham Bell felt he became one with his machines. Some empathic people view creativity as their children; Charles Dickens called David Copperfield his “favorite child.” Dissociative inspiration can seem to originate from a Muse or divine source; Giacomo Puccini believed his opera Madame Butterfly “was dictated to me by God.” Cross culturally, dissociation in ritual trance possession where dancers assume the identity of deities, may bring numinous experiences for both performers and audiences.