英文原文
Teachers of the creative process understand intuitively that different types of students need different types of teaching. The art students who splash paint with abandon over miles of canvas but have no interest in craftsmanship or self-evaluation need a different sort of intervention than the young artists who are so bullied by their own self-criticism that they can hardly bear to make a mark. The music students who by dint of excessive practice produce music-box accuracy--completely without fire--need a different sort of help than their sloppy but passionate colleagues. Our task as instructors is to understand our students’ needs and to design experiences that will help them master their chosen arts, whether these be visual, written, dramatic, musical, or outside of the traditional boundaries of "the creative arts." But our job does not stop there. We must also see that, when they leave us, they understand their own needs and have some conceptual frame for continuing to challenge themselves and improve under their own discipline. A modified version of Transactional Analysis, because of its relevance and simplicity, can provide just such a system.
Transactional Analysis, the understanding of human interaction that grew out of Berne's 1964 work, is a simplified neo-Freudian approach to human personality. It was enormously influential in psychotherapeutic praxis of its time and left its mark on American thinking in the form of the psychological construct the Inner Child, popular to this day. TA is no longer trendy in the self-help or therapy literature, but it provides an excellent paradigm for teaching college students about the appropriate interaction of creative playfulness, technical skill, and self-criticism in creative endeavors.
Berne's scheme is based on three intra-psychic systems, called ego states: Child, Adult, and Parent, loosely analogous to Freud's id, ego, and super-ego. The Child ego state is the natural uncontrolled and untutored energy of a child to explore, move, express itself, and instantly gratify its biological urges. Spontaneity, creativity, and liveliness are rooted in this ego state, as are selfishness, impatience, and other less charming characteristics of the immature human. The Adult ego state grows out of the child s increasing contact with the world as he or she develops reality-based skills and learns to manipulate things and events. A person's ever-growing how-to knowledge comprises the contents of the Adult. The Parent ego state comprises of neurological "recordings" of the pronouncements and behaviors of a person's parents and other early caregivers. Because so much parenting is oriented towards accepting or rejecting specific behaviors, the content of the Parent ego state is largely evaluative and judgmental, although the judgments may equally well carry the sweet flavor of approval or the bitter tang of condemnation. Berne saw the personality in terms of interactions between all three of these phenomenological states. He represented them visually as a three-tiered stack of contiguous circles.
In the classroom or workshop, the same simple schema can be used to explain how different parts of the personality produce free-flowing creativity, possess technical competence garnered from previous experiences, and are capable of evaluation and self-criticism. Just as the Child, Adult, and Parent ego states work together to enable a spontaneous, effective, and self-controlled personality, so the Creator, Technician, and Critic must collaborate in the creative endeavor. Each is important.
This schema clarifies for students various disorders of the creative process. For example, the unbridled Creator (unserved by a competent Technician and a rigorous Critic) will bring to the table a product that is free-flowing, but undisciplined and ineffective. The pure Technician, not in the service of a free Creator and a rigorous Critic, will bring a sterile but highly dexterous product. The premature Critic, preoccupied from the beginning with how good or bad the product is, will have trouble producing anything at all and will probably ask a lot of frustrated questions about creative block. The schema can guide instructors, and students themselves, to the intervention appropriate to their problem. Identifying where the imbalance exists (creative flow, technical competence, or critical rigor), and whether it is a deficiency or an excess, will go a long way towards defining the intervention that is needed. For instance, in a writing classroom, the logorrhea of the uncontrolled Creator will benefit from grammatical drills and work on proofreading, but these approaches will do nothing for the writer blocked at the drafting stage by a premature or unrealistic Critic. The student with the over-active Critic may have a grandiosely positive or punitively negative self-assessment. This student may need the help of peer feedback to establish realistic standards for his or her own work. A different but related problem may occur when the Critic chimes in with an evaluation of the creation before it is even drafted, demolishing the student s ability to compose with ease and spontaneity. The writer with the juiceless but technically correct product needs guidance in how to connect that valuable competence to passion, how to put craft at the service of something he or she really cares about. Once students understand that this is a problem of timing, that their self-critical skills are valuable but must be employed after the Creator has been allowed to play fearlessly with the act of composition, then they can begin to learn the tricks (such as rapid, timed freewriting) that can give creativity free rein.
The schema can be applied in many types of creative classrooms at many levels of expertise. Freshman classes are able to understand and to relate to the theory, and advanced graduate workshops have found it useful. It can help both students and instructors grasp that the creative process will only bear fruit when a free Creator is served by a competent Technician and a rigorous, clear-eyed Critic with appropriate standards.
中文翻译
创意过程的教学者直觉地理解，不同类型的学生需要不同类型的教学。那些在画布上肆意泼洒颜料但对工艺或自我评价毫无兴趣的艺术生，与那些被自我批评所困扰以至于几乎不敢下笔的年轻艺术家，需要不同的干预方式。那些通过过度练习达到音乐盒般精准但毫无激情的音乐生，与那些马虎但充满热情的同行，需要不同的帮助。作为教师，我们的任务是理解学生的需求，并设计体验来帮助他们掌握所选的艺术形式，无论是视觉、写作、戏剧、音乐，还是超越传统“创意艺术”边界的领域。但我们的工作不止于此。我们还必须确保，当他们离开我们时，他们能理解自己的需求，并拥有一个概念框架，以便在自己的纪律下继续挑战自我并改进。一个修改版的沟通分析心理学，由于其相关性和简洁性，可以提供这样一个系统。
沟通分析心理学源于伯恩1964年的著作，是对人类互动的理解，是一种简化版的新弗洛伊德人格理论。它在当时的心理治疗实践中极具影响力，并以“内在儿童”这一心理建构形式在美国思想中留下了印记，至今仍受欢迎。TA在自助或治疗文献中已不再流行，但它为大学生提供了一个极好的范式，用于教授创意努力中创意玩乐、技术技能和自我批评的适当互动。
伯恩的方案基于三个内在心理系统，称为自我状态：儿童、成人和父母，大致类似于弗洛伊德的本我、自我和超我。儿童自我状态是儿童探索、移动、表达自己并立即满足其生物冲动的自然、不受控制和未经教导的能量。自发性、创造力和活力根植于这一自我状态，自私、不耐烦和其他不成熟人类的较不迷人特征也是如此。成人自我状态源于儿童与世界的日益接触，随着他或她发展基于现实的技能并学会操纵事物和事件。一个人不断增长的“如何做”知识构成了成人的内容。父母自我状态包括一个人父母和其他早期照顾者的声明和行为的神经“记录”。由于许多育儿行为都侧重于接受或拒绝特定行为，父母自我状态的内容主要是评价性和判断性的，尽管这些判断可能同样带有赞许的甜蜜味道或谴责的苦涩滋味。伯恩从这三种现象学状态之间的互动来看待人格。他用视觉方式将它们表示为三层连续的圆圈。
在课堂或工作坊中，同样的简单方案可以用来解释人格的不同部分如何产生自由流动的创造力，拥有从先前经验中获得的技术能力，并能够进行评估和自我批评。正如儿童、成人和父母自我状态共同作用，实现一个自发、有效和自我控制的人格，创造者、技术员和批评者必须在创意努力中合作。每一个都很重要。
这一方案为学生阐明了创意过程中的各种障碍。例如，不受约束的创造者（没有能力强的技术员和严格的批评者服务）将带来一个自由流动但无纪律和无效的产品。纯粹的技术员，不为自由的创造者和严格的批评者服务，将带来一个枯燥但高度灵巧的产品。过早的批评者，从一开始就专注于产品的好坏，将难以产生任何东西，并可能提出许多关于创意障碍的沮丧问题。这一方案可以指导教师和学生自己，找到适合他们问题的干预措施。识别不平衡存在于哪里（创意流、技术能力或批评严谨性），以及是缺乏还是过度，将大大有助于定义所需的干预。例如，在写作课堂中，不受控制的创造者的多言症将从语法练习和校对工作中受益，但这些方法对因过早或不切实际的批评者在起草阶段受阻的作家毫无帮助。批评者过度活跃的学生可能有夸大其词的积极或惩罚性的消极自我评估。这个学生可能需要同伴反馈的帮助，以建立对自己工作的现实标准。当批评者在创作甚至起草之前就介入评估，摧毁学生轻松和自发创作的能力时，可能会出现一个不同但相关的问题。产品枯燥但技术正确的作家需要指导，如何将这种宝贵的能力与激情联系起来，如何将技艺服务于他或她真正关心的事物。一旦学生理解这是一个时机问题，他们的自我批评技能是有价值的，但必须在创造者被允许无畏地玩耍创作行为之后使用，那么他们就可以开始学习技巧（如快速、定时的自由写作），让创造力自由驰骋。
这一方案可以应用于许多类型的创意课堂和许多专业水平。新生班级能够理解并联系这一理论，高级研究生工作坊也发现它有用。它可以帮助学生和教师理解，创意过程只有在自由的创造者得到能力强的技术员和严格、清醒的批评者服务时，才能结出果实。
文章概要
本文探讨了沟通分析心理学在创意教学中的应用，特别是成人自我状态在艺术创作中的作用。文章指出，创意过程需要儿童自我状态（创造者）、成人自我状态（技术员）和父母自我状态（批评者）的平衡协作。成人自我状态提供现实技能和“如何做”知识，确保创意产品具有技术能力。文章通过教学实例说明，当这三个自我状态失衡时，会导致创意障碍，如过度创造、技术枯燥或过早批评。通过沟通分析心理学框架，教师和学生可以识别问题并实施适当干预，促进创意过程的健康发展。
高德明老师的评价
用12岁初中生可以听懂的语音来重复翻译的内容：这篇文章就像是在说，当我们画画、写故事或做音乐时，心里有三个小人在帮忙。一个是“创造者小人”，他喜欢自由玩耍，有很多好点子；一个是“技术员小人”，他知道怎么把点子变成真的东西，比如怎么用画笔或怎么写句子；还有一个是“批评者小人”，他会检查做出来的东西好不好。如果这三个小人合作得好，我们就能做出又好玩又厉害的作品。但如果一个太强或太弱，比如创造者小人太疯，技术员小人太死板，或者批评者小人太早出来说这不好那不好，我们就可能做不好。老师可以用这个方法来帮学生找到问题，让创意更棒。
TA沟通分析心理学理论评价：从沟通分析心理学角度看，本文精彩地应用了自我状态理论于创意领域。成人自我状态作为技术员角色，体现了现实导向的技能积累，是创意实现的关键桥梁。文章强调了三个自我状态的动态平衡，这符合TA理论中人格整合的核心原则。通过将创造者、技术员和批评者分别对应儿童、成人和父母自我状态，文章提供了一个清晰的框架来理解创意过程中的内在互动。这种应用展示了TA理论的实用性和跨领域适应性，特别是在教育情境中促进自我觉察和成长。
在实践上可以应用的领域和可以解决人们的十个问题：1. 艺术教育：帮助学生平衡创意表达与技术训练，减少因技术不足或创意受阻而产生的挫败感。2. 写作辅导：指导作家管理创作流程，避免过早自我批评导致的写作障碍。3. 音乐教学：协助音乐家融合激情与精准，提升表演的艺术性和技术性。4. 设计工作坊：促进设计师在自由创意与实用约束之间找到平衡，产出创新且可行的方案。5. 团队创意会议：优化团队协作，确保成员在不同自我状态角色中有效贡献，避免创意冲突或技术僵化。6. 个人创意项目：帮助个体识别自身在创意过程中的优势与短板，制定个性化改进策略。7. 心理健康促进：通过创意活动缓解压力，增强自我表达和情绪调节能力。8. 职业发展：在创意产业中提升职业技能，如时间管理和质量控制，以支持长期成功。9. 跨学科学习：鼓励学生在不同领域应用创意过程，培养综合思维和问题解决能力。10. 社区艺术项目：推动社区参与，通过集体创意活动增强社会连接和个人成就感。