Generators and Interpretors in a Performing Arts Population: Dissociation, Trauma, Fantasy Proneness, and Affective States Paula Thomson California State University, Northridge, York University, Canada E. B. Keehn Los Angeles, California Thomas P. Gumpel The Hebrew University of Jerusalem An international sample of 130 working artists was divided into two domains: generators (writers, designers, choreographers, one composer) and interpreters (directors, actors, opera singers, dancers). The correlations between dissociation, trauma experiences, fantasy proneness, and affective states were examined, followed by a regression analysis to predict elevated levels of dissociation. Artists, regardless of creative domain, scored in the moderate range for dissociation and fantasy proneness. Both groups endorsed lower levels of affective variability than a normed group. Interpreters scored significantly higher than generators on total dissociation, absorp- tion=imagination, absorption=changeability, and depersonalization=derealization. Additive factors of younger age, affective states of anger, sadness and spirituality, and higher scores on fantasy proneness and traumatic experiences predicted elevated levels of dissociation, with only sadness predicting pathological dissociative levels on the taxometric Dissociative Experiences Scale-II (DES-II) subscale. Given these findings, greater awareness about dissociation and the need for an elaborated model of affect regulation is recommended. The interactive factors of dissociation, trauma, fantasy proneness, and affect variability—components that may play a role in the experience of creativity—were examined in this study. In the specific case of the artist, a capacity to experience these extreme states while maintaining func- tion may be both a marker of overall health (Liberzon & Martis, 2006), and a potential source of resilience and regulation. And this capacity may equally operate during extreme circumstances outside their creative work. Operational definitions of creativity can be proble- matic because creativity is embedded and understood within the interacting fields of psychology, biology, history, sociology, and culture (Sawyer, 2006; Smith, 2005; Sternberg, 2006). Heeding this, a group of professionals working in the performing arts who are unambiguously creative were sampled. By artistic category, peer group affiliation, and social definition, these individuals were deemed creative. Special thanks to York University, Toronto, Canada, for providing a Minor Faculty of Fine Arts Research grant and to the initial work of Lauren Kirkpatrick, M.A., and Dr. Friendly, Ph.D. Our appreciation is extended to Professors Donna Krasnow and Kelly Forrest for their early comments. Thank you to all the participants in this study, includ- ing York University, California State University at Northridge, Opera Works, Performing Arts Center, and Anna Cheselka Dance Center. Gratitude is extended to the editor and referees for their helpful comments on an earlier draft of this article. Correspondence should be sent to Paula Thomson, , Associate Pro- fessor, College of Health and Human Development, Department of Kinesiology, University of California, Northridge, 18111 Nordhoff Street, Northridge, CA 91330. E-mail: Paula-maurice@sbcglobal.net CREATIVITY RESEARCH JOURNAL, 21(1), 72–91, 2009 Copyright # Taylor & Francis Group, LLC ISSN: 1040-0419 print=1532-6934 online DOI: 10.1080/10400410802633533