Category: Areas of Research

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Four Reasons Why You Should Take a Nap

Naps are not an indulgence or a sign of laziness, but a simple way of rejuvenating your mental and physical well-being. 

Here are four reasons why you should find a time and place for a brief daytime snooze.

1. You probably need it.

Many people today are sleep deprived at moderate to severe levels.  Long work hours, busy personal lives, noisy urban environments, and the stimulation of various personal devices are all making it harder than ever to get as much sleep as our minds and bodies require. A quick siesta cannot make up for all the sleep you’ve lost, but taking a nap whenever you have the chance will protect your health and diminish the long-term effects of sleep deprivation.

2.  You may be a naturally polyphasic sleeper.

Millions of years ago, our primate ancestors lived in trees, and they were polyphasic sleepers, meaning they slept at multiple times across the day and night.  When our species emerged we came down from the trees and became mostly monophasic sleepers, with one major period of sleep during the night.  But some humans have always had a strong innate tendency toward a polyphasic sleep cycle, and this is true for some people today, too.  Such people naturally need to take naps at various points during the day.  They are not lazy or slothful, they just have biological constitutions that function best with polyphasic sleep.  Unfortunately, they often have to conform with the work schedules of a monophasic society, just as naturally left-handed people have to adapt to the architecture and design of a right-handed world.

 3. You can boost your performance with a well-timed nap.

The greatest athlete-napper in the world right now has to be Mikaela Shiffrin, the gold-medal winning alpine skier from the 2018 Winter Olympics in Pyeongchang.  She regularly naps between runs on race days, keeping her mind and body at maximal freshness.  Many top-level athletes also give themselves the opportunity to nap before a competition.  For example, the basketball player J.J. Reddick of the Philadelphia 76ers takes a nap between 2 and 4 pm every day before an evening game.  When he wakes up, he begins a pre-game routine that leads him right to tip-off.  These athletes know the power generated by healthful sleep, and they have learned to focus that power on optimizing their performance.  You can apply this same principle in your own life, by letting yourself nap before facing a major challenge or task that requires you to be at your best.

4. You can explore lucid dreaming.

Many people find it easier to enter into lucid dreaming during a nap than during a regular night’s sleep.  (A “lucid” dream is one in which you know you are dreaming within the dream).  During a nap the mind is still fairly close to waking consciousness, which allows for more cross-fertilization between different modes of awareness.  This is actually a widespread practice through history for people seeking creative insights and alternative perspectives towards waking life challenges.  Artists, scientists, and advanced meditators have all drawn inspiration from brief, lucid spells of daytime sleep that open new ways of looking at reality upon awakening.

 

This post first appeared in Psychology Today, May 7, 2018.

 

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Art, Immigration, and Dreaming: An Experimental Workshop

An international group of artists join together to explore their dreams.

Next weekend (May 11-13), six professional artists and I will gather in New York City for an experimental workshop on the interplay of dreaming, artistic creativity, and the realities of life as an immigrant.  The participants are an incredibly talented group, and I’m very grateful to have the opportunity to learn from them.  The artists include:

Alisa Minyukova. Born in Leningrad, living in New York City.

Victor Mutelekesha. Born in Zambia, living in Oslo, Norway. 

Jennifer Cabrera Fernandez. Born in Mexico, living in Venice, Italy.

Viktoria Sorochinski. Born in Ukraine, living in Berlin, Germany.

Lana Nasser. Born in Jordan, living in the Netherlands.

Kristof Persyn. Born in the Netherlands, living in Belgium.

Alisa originally came up with the idea for the project, and since the beginning of the year she and I have been in regular conversation with these artists via video conferences, talking about their dreams and exploring questions of language, identity, and meaning in both art and dreaming.  As an overarching concept for the workshop, Alisa has been developing the idea of “dream mapping.” We will experiment and play with various ways of mapping the terrain of our dreaming landscapes, orienting ourselves to their most important features, and tracking our dream personas as they journey through these imaginal realms.  Each artist brings a lifetime of personal and cultural experience with dreaming, which bodes well for the creative energies we hope to generate together.

Two other people have been invited to join the workshop at certain points to add their ideas to the mix.  Bernard Welt, a long-time friend from the International Association for the Study of Dreams and a leading expert on dreaming and the arts, will lead a discussion about dream journals, sharing dreams, and mapping dream content.  And Rome Omboy, an artist and healer, will open and close the workshop with a Singing Bowl meditation.

A major motivation for the gathering is the rising hostility and violence towards immigrants all over the world.  We believe artists can be a powerful force in promoting greater recognition of our shared humanity, especially artists who are deeply attuned to the multiple identities that emerge within their own dreaming depths.  The goal of the workshop will be to generate creative insights about overcoming fears of otherness and illuminate new paths toward personal and collective integration.

Kristof will be creating a video documentary of the workshop, which is sure to become an interesting creative work of its own.

 

 

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A Dream of Love: Interpreting the Dream Ballet in OSF’s Oklahoma!

Peeling away Freudian assumptions to reach a deeper human truth about the capacity to love.

A radiant new production of the musical Oklahoma! at the Oregon Shakespeare Festival re-interprets a classic American love story for contemporary audiences.  With bold innovations in casting, staging, and choreography, the OSF production differs in many ways from the 1943 Broadway stage version and the 1955 Oscar-winning film.  Far from changing the story, these innovations amplify and extend its original, joyful spirit.

This is especially true with “the Dream Ballet,” the elaborate dance sequence that ends Act I.  Created by the legendary Agnes de Mille, the Dream Ballet has become an icon in the history of American musicals.  The new OSF production, directed by Bill Rauch and choreographed by Ann Yee, intensifies the emotional energy of this central moment in the play and deepens our psychological insight into the feelings and motivations of the characters.

At the risk of theatrical heresy, I will say the OSF production of the Dream Ballet is better than the original. It goes further in illuminating the emotional heart of this dramatized nightmare, and it peels away the original version’s mistaken psychoanalytic assumptions about female sexuality to reveal a deeper human truth about the capacity to love.

A quick recap of the plot: Set in the Oklahoma territory in 1906, just before official statehood, the story revolves around two love triangles.  In one, a cowboy (Curly) and a farmhand (Jud) vie for the affections of a farmer’s daughter (Laurey).  In the other, cowboy Will Parker and Ali Hakim, a Persian traveling salesman, are both involved with Ado Annie, one of Laurey’s girlfriends.

The OSF production makes two significant changes in casting.  Curly is played by a woman, Tatiana Wechsler, and Ado Annie is now Ado Andy, played by a man, Jonathan Luke Stevens.  The love triangles are the same, but the gender dynamics have changed, and the Dream Ballet changes, too.

The new production makes it easier to recognize that Laurey’s dream is not about a romantic choice between Curly and Jud.  The preceding scenes make it clear that Laurey only agreed to go to the Box Social with Jud in order to spite Curly (“I did it because Curly was so fresh”), and she confesses to Aunt Eller that she’s deeply scared of the brooding, resentful Jud: “Sumpin’ wrong inside him, Aunt Eller… I know what I’m talkin’ about.” In the OSF version, Laurey’s romantic desires are obviously inclined toward the female Curly, which doubly emphasizes her sexual disinterest in Jud.

What, then, is Laurey dreaming about, if not a choice of Jud versus Curly?

The dream begins with a playfully sensual dance, in which Laurey revels in the pure freedom of movement and feeling that open up to her within this imaginal space.  A spotlight tracks her as she dances and floats across the stage, casting an enormous, graceful shadow on the screen behind.  Then Curly enters the dream and joins her dance, along with other shadow spirits who further enliven the increasingly romantic atmosphere.  The dancing gradually morphs into a beautiful wedding procession.  But just as Laurey is ready to pledge her vows to Curly, Jud steps between them.

Everything suddenly darkens, as Jud takes control of the dream space and everyone’s behavior within it. He seizes Laurey, casts Curly aside, and forces all the other characters to conform to his personal desires, desires that have been stoked by the pornographic pictures in his smoke house.  The women from these pictures now enter into the dream and move around the stage like harlequin puppets, mimicking sexual acts with a robotic lack of emotion.

The most striking innovation in the OSF version of the Dream Ballet occurs at this point, when Jud commands that two characters with non-traditional gender presentations be forced to switch their clothing, so they look like a “normal” man and woman.

Laurey seems utterly helpless as Jud imposes his will on her dreamscape, turning it into a nightmare of paralyzing weakness and vulnerability.  When Jud rises up against Curly and violently attacks her, pounding her with wooden logs and punching her mercilessly, Laurey is terrified that Curly might actually die under the assault.

At that moment, Laurey’s agency suddenly returns.  She steps between them, letting Jud know she will accept him if he will let Curly live.  Jud agrees, the violence ceases, and the dream ends.

If, as I’ve suggested, the dream is not about Laurey’s romantic indecision between Curly and Jud, then perhaps their presence in her dream should be viewed in less literal terms.  Perhaps their significance is more symbolic or metaphorical in meaning.

A good way of testing that idea is to apply the “Gestalt” approach of psychologist Frederick Perls (1893-1970).  Perls taught that one way to explore dreams is to treat them as inner theatrical productions, with every element of the dream—each object, setting, and character—representing some metaphorical aspect of the dreamer’s own personality.  The dramatic conflicts in dreams reveal parts of ourselves that are immature, alienated, or not yet integrated. The better we understand these conflicts, the more fully we can grow into our innate potentials for health and wholeness.

This is just one way to look at dreams, and many others could be validly applied here.  But let’s see where a Gestalt approach leads.

For Laurey, her conflicts in the play revolve around one of the most frightening experiences of human life: falling in love.  If she yields to her feelings for Curly, Laurey will have to let down her guard and emotionally open herself more than she ever has before.  She will become a new interpersonal being, a sexually mature adult, an intimate romantic partner.  To fall in love is to undergo a total transformation of the self.  The first scenes of the play make it clear that Laurey is, indeed, falling deeply in love with Curly, who just as clearly loves her back.  But for some reason, Laurey cannot openly express her feelings.  What’s holding her back?

This is where the Gestalt approach may help.  Using this method, we look for aspects of Laurey’s personality that can be described metaphorically as an “inner Jud” threatening to destroy her budding love with Curly.  And here, I believe, we come to an intriguing notion.  At least twice in the early parts of the play, Laurey behaves in quite Jud-like ways.

First, Laurey’s response to Curly’s songs to her (“The Surrey with the Fringe on Top” and “People Will Say We’re in Love”) follows the same emotional trajectory as Jud’s response to Curly’s song to him (“Poor Jud”)—their initial enchantment with Curly’s alluring visions turning to bitterness and disillusionment at how far the visions fall from reality.  Laurey berates Curly after the “Surrey” song, saying “Why’d you come around here with yer stories and lies, gittin’ me all worked up that-a-way?”, before furiously slamming the door on her.  Laurey’s angry distrust blocks her from accepting the uncertain future of a romantic relationship with Curly, just as Jud’s angry distrust prevents him from forming any kind of relationship at all.

Second, when Laurey accepts Jud’s invitation to the Box Social, her goal is not to spend more time with Jud, but rather to provoke a jealous reaction in Curly.  Whether intentionally or not, Laurey tries to manipulate both of them to suit her personal needs and desires.  She treats Jud as an impersonal tool, and Curly as a passive object for her to control.  This is ultimately Jud’s deepest character flaw: his obsession with dehumanizing fantasies of power and control that seem to fulfill his wishes but in fact only make it harder for him to become truly intimate with real humans.

None of this is to suggest that Laurey is exactly like Jud in all ways, or that we should feel more sympathy for his violent behavior.  Rather, this Gestalt-informed approach suggests the Dream Ballet is a metaphorical vision of why exactly Laurey is having so much difficulty letting herself fall in love: She’s too much like Jud. To enter into a truly mutual and loving relationship with Curly, Laurey must first deal with the problematic qualities she shares with Jud.  As her dream vividly portrays, these qualities will kill any chance of a real relationship with Curly.

Laurey seems unable to stop Jud’s attacks on Curly in the dream, until she makes the active, conscious decision to embrace Jud.  Again, this does not signal Laurey’s romantic preference for Jud.  In a Gestalt view, this means that Laurey realizes in the dream the only way to save her love for Curly is to take responsibility for her own Jud-like qualities and grow into a larger self that can encompass these energies without being overwhelmed or dominated by them.  This greater emergent self is prefigured in the OSF production with Laurey’s magnified dancing shadow, a dark but graceful harbinger of growth to come.

To sum it up in Shakespearean terms, Laurey comes to a realization similar to that of Prospero at the end of The Tempest: “This thing of darkness I acknowledge mine.” (V.i.275-276)

Unfortunately, when Laurey awakens she immediately (mis)interprets the dream in a literalistic way, as instructing her to choose Jud over Curly. It takes the second act of the play for Laurey to recognize her mistake and learn how to express her true feelings.  She finally agrees to join Curly in marriage, and she rallies the strength to confront the “outer” Jud and tell him he’s fired.  In both instances, Laurey speaks with greater confidence, maturity, and passion than ever before.  She has indeed grown to become a newly conscious being, sure of her own expanded power, and yet willing to open herself fully and lovingly to another.

I would offer this same argument about the meaning of the Dream Ballet in the original production of Oklahoma!, but it would be a tougher case to make.  This is why I say the OSF production is better than the original, which was overlaid with so many Freudian preconceptions that Laurey’s deeper conflict is harder to appreciate.

According to Freud, whose psychoanalytic theories were enormously influential in the mid-20th century United States, dreams are fantasy fulfillments of unconscious wishes, usually sexual, that remain unfulfilled in waking life.  The Dream Ballet seems to fit this theory perfectly: Laurey naturally desires a sexual relationship with a real man, not a boy, and Jud’s postcard girls symbolize her own repressed erotic wishes.  Laurey’s mind may prefer Curly, but her loins favor the hot, fiery Jud. To resolve this conflict and fulfill her unconscious wish, the dream sets it up so that Laurey’s embrace of Jud appears to be a morally virtuous self-sacrifice, rather than the lustfully satisfying fantasy it truly is.  Both ego and id get what they want.

In the original staging, with Jud and Curly cast as men, such an interpretation makes a superficial kind of sense, especially with Curly having a gun in the dream that won’t shoot, a classic Freudian symbol of male impotence.  And yet this interpretation depends on a theory about “hidden” female sexual desire that is problematic, to say the least.  It suggests Laurey’s resistance to Jud is actually repressed unconscious desire.  When she says no to him, she’s really wanting to say yes.

As I’ve noted above, there is nothing in the text to justify the idea that Laurey is romantically attracted to Jud.  Only if Freud’s mistaken ideas about unconscious female sexuality are smuggled into the story can Laurey’s character and dream be interpreted in this way.

The OSF production liberates Laurey from these psychoanalytic shackles and brings forth a more authentic dimension of meaning in her dream that was always there, but not as evident in the original version.  With Curly cast as a woman, it becomes clearer than ever that Laurey’s deepest conflict is not simply about sex, but about love—the frightening, exhilarating, and transformative experience of falling in love with another person.

 

Note: this post was first published in Psychology Today, May 2, 2018.

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Why It’s So Hard to Sleep in the NBA

Pro basketball players and coaches suffer chronic sleep deprivation. Can they find help in their dreams?

On January 8, 1964, a 17-year old high school student named Randy Gardner set the world’s record for continual wakefulness: 264 hours, more than eleven straight days without sleep.  Gardner was helped in his effort by Dr. William Dement, a pioneer of sleep medicine who stayed with him round-the-clock to help him achieve his goal.  The worst times came during the wee hours of the night, when Gardner’s resolve faltered, but Dement said they found a sure-fire way to keep sleep at bay:

“Fortunately, playing basketball always worked. We almost had to drag him out to the backyard, but once he was there and got moving, he was much better.” 

This little anecdote from the early history of sleep research illuminates a problem at the heart of the modern National Basketball Association.  Professional basketball players are virtually guaranteed to suffer chronic sleep deprivation. For months on end they stay up late into the night and engage in intense, highly stressful physical competitions held in brightly lit, hyper-stimulating arenas full of thousands of screaming people.  They must endure a constantly changing schedule of long-distance travel, shifting time zones, and unfamiliar food and lodging.  It would be hard to intentionally design a system more likely to disrupt the natural, healthy rhythms of sleep.

Fortunately, a new awareness of the importance of sleep is growing among the players, coaches, and even the league schedulers. Two of the league’s premier players, Lebron James and Kevin Durant, have made their views on the subject clear:

James: “Sleep is the most important thing when it comes to recovery.  And it’s very tough with our schedule. Our schedule keeps us up late at night, and most of the time it wakes us up early in the morning. … There’s no better recovery than sleep.”

Durant: “Of course, on the basketball side, you have to fine tune your skills.  But on the other side, you have to fine tune your body. There’s a lot of remedies you can use as a basketball player to get better, but the easiest thing you can do is go to sleep.”

Much of the credit for the recent burst of attention to sleep and basketball goes to Dr. Cheri Mah, whose 2011 study of the Stanford University men’s basketball team found that increased sleep led to measurably better shooting, faster sprinting, and a higher sense of physical and mental well-being.  Mah’s findings have inspired men’s and women’s teams at all levels to take sleep more seriously as an integral factor in overall player health and performance.

Mah’s research has also spawned a method of predicting the winners of NBA games with alarmingly high accuracy.  ESPN writer Baxter Holmes has worked with Mah to devise a formula for evaluating how tired one team would be compared to another team on the night of a game against each other, especially on the second night of a back-to-back game.  Their formula takes many factors into account:

Whether the game is home or away, the time elapsed between tip-offs (including hours lost from flying east), how rested the opponent is from play or travel and whether it’s part of a longer run of four games in five nights, or five games in seven.

As Holmes reports, the formula has a success rate of about 75% in predicting the winner of a game when one team is likely to be very sleep deprived and the other team is likely to be very well-rested.  These predictions are made regardless of the team’s won/lost records, which is even more impressive in terms of identifying the direct competitive impact of healthy sleep.  If this formula were revised to include the won/lost records, it’s easy to imagine the success rate of the sleep-driven predictions rising to nearly 100%.

This season has also highlighted the sleep challenges of coaches as well as the players.  Two head coaches—Tyronn Lue of the Cleveland Cavaliers and Steve Clifford of the Charlotte Hornets—have been forced by health concerns to leave their teams for several weeks of recuperation.  In both cases, doctors identified chronic insomnia as an important causal factor.

What can be done to help NBA players and coaches improve their sleep?  The league is under growing pressure to eliminate back-to-back games, which would surely remove a major cause of disrupted sleep.  But there’s only so much flexibility when trying to craft a season of 82 games for each of 30 teams in a time frame of 6 months.  Even if back-to-backs are eliminated, the NBA’s regular season schedule will continue to put enormous pressure on everyone’s ability to get a healthy amount of sleep.

At this point, most teams have a sleep consultant of some kind, so players and coaches already have access to basic information about behavioral changes one can make for improving sleep.  Unfortunately, knowing what you should do is not as easy as actually doing it.  According to one coach quoted by David Aldridge at NBA.com,

“We’re all told what to do, but we don’t do it.  We’re all told we have to eat healthy, we have to exercise and we have to get our sleep. All of us. Every coach. This is not like, ‘oh, wow, I never thought of that.’ But it’s hard to do it.”

What else is there?  What other options exist for promoting better sleep, besides the standard methods of appealing to guilt and fear, focusing on behavioral markers, and relying on external authorities?

There is another approach, one that works well for some people and might work very well for NBA players and coaches.  This approach draws on a new source of motivation for getting as much good sleep as possible: Better sleep is important because it leads to better dreaming. 

When you sleep, your mind does not simply shut down.  Rather, it enters a different mode of functioning, a mode that can be described as a kind of play.  Liberated from the constraints of the external world, your sleeping mind is free to imagine, explore, and experiment.  Sometimes, during the phase known as rapid eye movement (REM) sleep, which occurs four or five times a night for most people, your brain becomes intensely activated, as much as when you are wide awake. These complex bursts of neural activation are an automatic, hard-wired feature of your sleep cycle, and they stimulate the psychological process of dreaming.

But why should anyone, let alone those who play or coach professional basketball, care about dreams?  There are at least three reasons.

First, even if you never remember any of your dreams, the process of dreaming still contributes to your mental welfare in waking life.  Researchers have found that dreaming promotes more efficient learning, memory formation, and the emotional integration of new experiences.  The “bizarre” aspects of dreaming—strange settings, odd characters, impossible events—can be understood as playfully stretching your mind’s abilities, with the beneficial effect of increasing your mental flexibility and improving your readiness to deal with unexpected situations in waking life.  In this way, dreaming is like mental yoga.  It loosens the rigid boundaries of your waking ego, expands the range of your imagination, and keeps your mind open and alert to new possibilities.

This means that sleep is especially important for basketball players and coaches who are continuously trying to optimize their performance, because if they sleep well, their dreams will naturally boost their mental health and adaptive flexibility, whether or not they consciously remember any of them.

Second, chances are you that do remember at least a few of your dreams.  If you pay even a little attention to them, you’ll notice they often revolve around your current emotional concerns.  Whatever preoccupies you in waking life—whatever you care most about—is very likely to show up in your dreams. In this way, dreams offer a surprisingly honest mirror of how you’re feeling about the most important people, challenges, and conflicts in your waking life.  Every dream you remember is an opportunity to expand your self-awareness and strive for greater emotional balance.

For pro basketball players, good sleep can open the door to a valuable source of fresh information about how they’re playing, how their bodies are responding, and how they’re getting along with teammates, coaches, opponents, fans, and the media.  Dreams are a powerful tool for identifying hidden fears and emotional obstacles that get in the way of peak athletic performance.

Third, if you actively engage with your dreams by writing them in a journal, several things will happen.  Your recall will likely increase, as you become more consciously attuned to the rhythms of your sleeping mind.  Your sense of time will expand, as you understand more of your past and envision more of your future.  You will notice the emergence of creative insights and innovative ideas that offer new ways of problem-solving in waking life.  Eventually, your dreams will begin changing as you psychologically “level up,” discovering new challenges and new opportunities for growth. You may become “lucid” or self-aware in some of your dreams, and able to interact more intentionally with the characters and settings.  You can practice dream incubation, a method of formulating a question before sleep and then observing any subsequent dreams for possible responses to the question.

Looking at these potentials in a basketball context, good sleep combined with keeping a dream journal can set the stage for developing advanced forms of mental strength and clarity that will empower players to actualize their talents to the fullest.  Dreaming can be a path towards deeper mindfulness, as Hindu and Buddhist meditators have known for many centuries.  For NBA players and coaches, who need to keep their focus laser sharp despite constant distractions, a regular dialogue with their dreams can be a grounding practice that connects them with their core motivations and ultimate center of balance.

None of this is possible if the basic rhythms of one’s sleep cycle are badly out of sync.  But once you start making an active effort to improve your sleep, you will also be improving the conditions for your dreams.  And once you start actively exploring and cultivating the immense powers of your dreaming mind, the sky is the limit.

Note: this post was first published in Psychology Today, April 5, 2018.

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The Prophetic Dreamer

On May 25, 1590, by direct order of King Philip II, the Spanish Inquisition arrested a young, uneducated woman from Madrid named Lucrecia de Leon on charges of heresy and treason.  She was brought to a secret prison in Toledo, interrogated, and tortured to make her confess her guilt.  The evidence against her was overwhelming.  She had been caught conspiring with known rebels, publicly slandering the king, defying direct orders from the church, and stirring up dissent against the imperial government.

Most damning was the collection of Lucrecia’s dreams, carefully recorded by a group of priests interested in apocalyptic omens who came to her house each morning to transcribe what she had seen the previous night.  The dreams were filled with scandalous political and religious imagery, and Lucrecia had been openly sharing them with people at the highest levels of Spanish society.

It seemed like an open-and-shut case.  The Inquisition had dispatched thousands of heretics to their eternal fate based on far less evidence than this.  And yet, Lucrecia’s trial did not end quickly.  It dragged on for five years, one of the longest trials in Inquisition history, and the final verdict against her deviated in several ways from the normal process of punishment.

Why did the Spanish Inquisition, at the height of its brutally oppressive power, struggle for so long to resolve Lucrecia’s case?

Because her dreams had come true.

The hand-written journal compiled by the priests proved it.  The Inquisition judges in Toledo had before them a document showing that Lucrecia’s dreams accurately predicted the fate of the Spanish Armada.  The Armada was Spain’s invincible navy, the most powerful military force in the world, which King Philip planned to use in launching an invasion of England in 1588.  Lucrecia’s dreams in 1587 and early 1588 repeatedly warned of impending disaster for the Armada, and that was indeed the unfortunate result of the attack.

This put the Inquisitors in an excruciating bind.  The evidence of her treasonous and heretical behavior was undeniable, and should have been sufficient to put her to death immediately.  And yet the predictive accuracy of her dreams forced them to pause.  Given the intensity of their Catholic faith, the Inquisitors could not help but wonder if Lucrecia might actually have some kind of prophetic gift.  If this were true, then perhaps it might contrary to God’s will to persecute her.  Indeed, in that case they would be the heretics, not she.

But how could a divine gift like prophecy be granted to a foolish girl from a lower-class family who could barely read and write?  This question seemed to vex the Inquisitors more than anything else. They looked for every possible way to discredit Lucrecia, and they relentlessly pressured her to admit she was a fraud and had made up all the dreams.  For five long years, she refused to do so.

At its core, the trial of Lucrecia de Leon is a story of a young woman defiantly dreaming truth to power.  She could have avoided all of this.  She had many off-ramps along the way, many opportunities to veer off, stay out of trouble, resume her normal life, and escape the Inquisition’s wrath.  She was violently threatened numerous times by church officials, and also by her own father, who ordered her in the clearest possible terms to stop.  “Dreams are only dreams,” he told her, “and if you believe in them I will give the order to have you killed.”

Despite all of this opposition, Lucrecia continued dreaming and sharing her dreams, literally putting her life at risk in the process.

The question of why she did so is the reason I wrote Lucrecia the Dreamer.  What was it that gave her the courage to defy the religious, political, and parental authorities for so long?

Even though she lived more than four hundred years ago, Lucrecia’s story can teach us important lessons about the extraordinary powers and potentials of the dreaming imagination. Using research from religious studies, psychology, and cognitive science, I take a naturalistic approach to the prophetic features of Lucrecia’s dreams.  Her experiences reflect the sleeping mind’s ability to simulate highly realistic visions of future possibility.  Lucrecia evidently possessed an unusually intensified capacity for these kinds of dreams. Other people in various places and times, including people today, have experienced similar phenomena.  Perhaps everyone has the potential for such dreams, given the right circumstances.

 

Note: this post first appeared on the Stanford University Press Author’s Blog, 2/23/18.

 

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The Horrors of the Dream Ballet in “Oklahoma!”

A brilliant exploration of the dark psychological depths of sexual desire appears in an unlikely place—a country musical from the 1940’s.

Oklahoma! was the first collaboration of Richard Rodgers and Oscar Hammerstein II, the duo who went on to write many of Broadway’s most famous mid-century musicals.  A new production of Oklahoma! at the Oregon Shakespeare Festival promises to stimulate new interest in this classic theatrical work through innovative casting, staging, and choreography from director Bill Rauch and choreographer Ann Yee.

Oklahoma! offers a surprisingly complex portrait of dreaming, desire, and the unconscious mind, and I plan to write a more detailed appraisal once the OSF production opens in April.  To set the stage, as it were, I wanted to start with an overview of the traditional production, which opened in 1943 and has since been performed in thousands of other venues in the US and around the world.  An Academy Award-winning movie adaptation appeared in 1955.

Set in the Oklahoma territory in 1906, just before official statehood, the story revolves around two love triangles.  In one, a cowboy (Curly) and a farmhand (Jud) vie for the affections of a farmer’s daughter (Laurey).  In the other, cowboy Will Parker and a Persian traveling salesman named Ali Hakim are both involved with Ado Annie, one of Laurey’s friends.

The play both opens and closes with the joyfully optimistic song “Oh, What a Beautiful Mornin’,” and the action unfolds in the space created between those two happy moments of dawning light.

In the very center of the play, at the end of the Act I, there is a dark and very elaborate dream sequence, “The Dream Ballet,” intended to express Laurey’s conflicted feelings about Curley and Jud.  Other plays and musicals before Oklahoma! had included scenes of dancing framed as dreams, but no one had ever pushed the dream theme into such bold psychological territory, with so much sophistication and artistry in the choreography.  Much of the credit goes to Agnes de Mille, the original choreographer, who helped Rogers and Hammerstein craft what became one of the most famous scenes in the play.

In the scene just before the ballet, Jud is alone and brooding about his sexual frustration.  The pornographic “postcards” in his room excite his fantasies (“And a dream starts a-dancin’ in my head”), but ultimately leave him feeling empty, deceived, and even angrier than before.  He finally declares, “I ain’t gonna dream ‘bout her arms no more!” and sets off to claim Laurey for his own.

Laurey, meanwhile, sits down in the shade of a tree in her yard and drinks a special sleeping potion (“the Elixir of Egypt”) she purchased from Ali Hakim, hoping it will “make up my mind fer me” and help her “to see things clear.”  She slowly nods off, while a group of neighboring girls sing a lullaby about flying from her dreams into the arms of the man she truly loves.  The girls disappear, Laurey falls into a deep sleep, and the dream begins.

Each of the characters in the main love triangle has a kind of dream-world counterpart or avatar, a professional dancer who performs their roles during the 17-minute sequence.  It begins well enough, with Laurey dancing “ecstatically” with Curly.  After many vigorous upward thrusts and arousing leaps through the air, they find themselves at a wedding, walking down the aisle, about to take their vows.  But at the last moment it is Jud, not Curly, who appears in front of her.  Laurey is terrified as Jud and the risqué women from his postcards take over the dream.  Curly has a gun and tries to shoot Jud, but the gun has no effect.  Jud attacks Curly and starts choking him to death.  Laurey begs Jud to stop, and promises to go with him if he will spare Curly’s life.  Jud agrees, and takes Laurey with him, as she bids a “heartbroken” farewell to Curly.

At this moment, Jud walks up to the tree in her yard.  “Wake up, Laurey,” he says, “It’s time to start fer the party.”  Just then Curly walks up to the house, too, hoping she will choose him instead.  Laurey, now fully awake, is seized with panic:

“Remembering the disaster of her recent dream, she avoids its reality by taking Jud’s arm and going with him, looking wistfully back at Curly with the same sad eyes that her ballet counterpart had on her exit. Curly stands alone, puzzled, dejected and defeated, as the curtain falls.”

This marks the end of Act I.

The provocative content and staging of the Dream Ballet was originally envisioned by Hammerstein to be “bizarre, imaginative and amusing, and never heavy.” (Carter 129)  De Mille, however, wanted to shift the tone; she suggested bringing Jud’s postcard girls into the action, and making the whole thing darker and gloomier.  Virtually all musicals try to send their audiences into intermission on a happy, buoyant note; the Dream Ballet of Oklahoma!  has the diametrically opposite effect, which de Mille felt would be entirely appropriate for Laurey’s character and situation at this point in the story.

In a later interview, de Mille said she pushed Hammerstein to make the dream sequence more emotionally realistic, more like the kinds of anxiety dreams that girls and young women actually experience: “Girls don’t dream about the circus. They dream about horrors. And they dream dirty dreams.” (Carter 123)

Thus, the core moment in one of America’s most beloved works of musical theater is a violently realistic sexual nightmare.

The Dream Ballet is an amazing work of art.  It is also a remarkably insightful portrait of the dreaming mind.  For those who study dreams, Oklahoma! raises a number of intriguing questions that can shed new light on the play, its cultural impact, and the dreaming imagination.  I will wait to see the OSF production in late April before saying more, but these are some of the anticipatory questions and ideas dancing through my mind:

Was Agnes de Mille right, as a matter of empirical fact, that girls have a tendency to dream about “horrors” and “dirty” topics?  What might modern research on the dream patterns of young women reveal about the unconscious dynamics of Laurey’s dilemma?

Has Laurey unknowingly performed a ritual of dream incubation?  She drinks the “Elixir of Egypt,” sleeps in a special place, focuses her mind on a particular question as she drifts off, and then has a dream relating to her question.  That’s pretty much the definition of a dream incubation ritual (as per Kimberley Patton.)

Is Laurey’s dream a threat simulation, along the lines of what Antti Revonsuo has proposed?  Revonsuo focused on recurrent chasing nightmares as an instance of dreams that simulate a possible threat and rehearse our response to it, so we’re better prepared in waking life if that threat should actually arise.  Laurey has a dream of Jud threatening to kill Curly, which is indeed a realistic appraisal of the dangers in her waking life.

Is her dream a sexual wish-fulfillment, as Sigmund Freud would say?  In 1940’s New York City, it’s a fair guess the Oklahoma! creative team knew about psychoanalysis and its theories about unconscious sexual desires.  Laurey certainly has a more intense and erotic interaction with Curly in dreaming than she ever does in waking.  The dream’s sexual charge only grows with the appearance of Jud’s postcard girls, who stir up even more libidinal energy, with less romance and more raw carnal desire.  And poor Curly with his limp gun…

Is Jud a shadow symbol for Laurey and the whole Oklahoma community, as Carl Jung might suggest?  From the very beginning of the play Jud is portrayed as dark, crude, rough, hairy, animal-like, stupid, and inarticulate.  He lives alone in a “smokehouse,” seething with unfulfilled instinctual urges.  He could be seen as a radical Other, in the symbolic lineage of Lucifer, Caliban, Gollum, and Darth Vader, the embodiment of all the darkness that is not allowed into the light of conscious awareness, and thus banished to the depths of the unconscious.

Does Laurey misinterpret her dream?  How exactly is her action upon awakening (choosing Jud over Curly) justified by what she has dreamed?  In both fiction and real life, people who instantly interpret their dreams usually get it wrong.  The quick response often overlooks deeper, more important meanings that the conscious mind may be all to ready to move past.  (I call this “the Odyssean fallacy.”)

Does Jud misinterpret his dream?  Same question—why does Jud think the action he takes (aggressively demanding Laurey’s affection) is justified by his arousing yet frustrating dreams of the postcard girls?  What might he be overlooking?

Finally, how will the OSF creative team reimagine this classic work for a new century and a new America?

I can’t wait to see!

 

Reference: Tim Carter, Oklahoma!: The Making of an American Musical, Yale University Press, 2007.