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Univerzita Palackého V Olomouci UNIVERZITA PALACKÉHO V OLOMOUCI PEDAGOGICKÁ FAKULTA KATEDRA VÝTVARNÉ VÝCHOVY Výtvarná tvorba se zaměřením na vzdělávání VERONIKA ŠOVČÍKOVÁ KRESBA: SEN A REALITA VŠEDNÍHO DNE Bakalářská práce Vedoucí práce: Doc. Petr Jochmann Olomouc, 2014 Prohlašuji, ţe jsem diplomovou práci vypracovala samostatně a uvedla v ní předepsaným způsobem všechny pouţité prameny a literaturu. V Olomouci dne 24. dubna 2014 …………………………. Obsah ÚVOD ...........................................................................................................................................................4 1 SPÁNEK ..............................................................................................................................................5 1.1 MECHANISMUS SPÁNKU .................................................................................................................5 1.2 PŘECHOD DO NEVĚDOMÍ ................................................................................................................6 1.3 FÁZE NREM A REM SPÁNKU .........................................................................................................7 2 SEN ......................................................................................................................................................9 2.1 DEFINICE A FUNKCE SNU V ZÁVISLOSTI NA EMOCI ..........................................................................9 3 KONTRASTNÍ PŘÍSTUPY KE SNU ............................................................................................... 10 3.1 PRÁCE SE SNY .............................................................................................................................. 10 3.2 ZKOUMÁNÍ DŮVODU SNĚNÍ .......................................................................................................... 11 3.3 HISTORIE VNÍMÁNÍ SNŮ................................................................................................................ 11 3.4 DVA KRAJNÍ POHLEDY NA SEN ...................................................................................................... 12 3.5 SLOVNÍ OBRATY SPJATY SE SNĚNÍM .............................................................................................. 12 3.6 S. FREUD A C. G JUNG ................................................................................................................. 12 4 VLIV SNŮ NA BDĚLÝ STAV .......................................................................................................... 13 4.1 SNY A KREATIVITA ...................................................................................................................... 13 5 VLIV SNŮ NA TVORBU A UMĚLECKÉ SMĚRY ........................................................................ 14 5.1 MYŠLENKA SYMBOLISMU ............................................................................................................ 15 5.2 MYŠLENKA SURREALISMU ........................................................................................................... 15 6 VÝTVARNÍ UMĚLCI PRACUJÍCÍ S TÉMATIKOU SPÁNKU A SNĚNÍ ................................... 18 6.1 POČÁTKY ZTVÁRNĚNÍ EXTÁZE, SPÁNKU A SNU ............................................................................. 18 6.2 VÝCHODNÍ KULTURA ................................................................................................................... 19 6.3 ISLÁMSKÁ KULTURA .................................................................................................................... 19 6.4 OBDOBÍ SYMBOLISMU .................................................................................................................. 19 6.5 OBDOBÍ SURREALISMU ................................................................................................................. 20 6.6 DALŠÍ UMĚLCI ............................................................................................................................. 21 7 SEN A (ARTE)TERAPIE ................................................................................................................. 21 7.1 PSYCHOTERAPIE NOČNÍCH MŮR .................................................................................................... 22 8 MOJE VNÍMÁNÍ SNU ..................................................................................................................... 23 9 PRAKTICKÁ ČÁST BAKALÁŘSKÉ PRÁCE ............................................................................... 24 9.1 POSTUP PRÁCE ............................................................................................................................. 24 10 PODOBNOSTI V TVORBĚ ............................................................................................................. 25 10.1 ABSTRAKCE ................................................................................................................................. 26 10.2 ABSTRAKTNÍ UMĚNÍ..................................................................................................................... 26 10.3 ABSTRAKTNÍ EXPRESIONISMUS .................................................................................................... 27 11 ZÁVĚR .............................................................................................................................................. 29 12 ANOTACE ......................................................................................................................................... 30 13 OBAZOVÁ PŘÍLOHA...................................................................................................................... 31 14 SEZNAM POUŽITÝCH ZDROJŮ .................................................................................................. 39 Úvod Centrálním tématem mé bakalářské práce je snění a vliv snů na umělce a na mne samotnou. Skrze pochopení spánku a snění se dostáváme k uměleckým dílům, jeţ vyjadřují snovou imaginaci. Objasňuji myšlenky některých uměleckých proudů, které se pojí s naším nevědomím. Otázkou je zda sen skutečně ovlivňuje náš den. Pokusím se o záznam emocí, jeţ jsem pociťovala bezprostředně po probuzení. Pozoruji tedy impakt snů na náš všední den. Touto terapeutickou cestou se zbavuji negativních emocí a výsledkem jsou díla, která vychází z mého nevědomí, z mých snů. Výsledná díla se skutečně podobají dílům abstraktních expresionistů, kteří taktéţ pracovali s emocemi a niterním světem. 4 1 Spánek Náš ţivot a jeho průběh, záţitky a věci kolem nás jsou vnímány za normálních okolností především za bílého dne a při našem plném vědomí. Přibliţně jednu třetinu ţivota ovšem trávíme spánkem, při kterém si zcela neuvědomujeme pochod našich myšlenek a jsme ve většině případů zbaveni schopnosti přemýšlení a ovládání jejich proudění. Náš mozek pracuje sám a tyto myšlenky, vzpomínky či představy jsou zpracovávány bez našeho vědomí. Výsledkem jsou sny, které vznikají právě díky spánku1. 1.1 Mechanismus spánku Tento stav „přirozeného bezvědomí“, je základním fysiologickým jevem, který je potřebný pro vyšší organismy a je základním determinantem pro kvalitní ţivot. Proces spánku nám zaručuje odpočinek fyzický i psychický, v závislosti na momentální fázi spánku. Náš den se skládá z bdění (vigility) a spánku, tedy vztah vědomí a nevědomí. Vědomí je psychologicky definováno jako stav, kdy jsme schopni uvědomit si sami sebe a pokoušíme se správně interpretovat vlastní proţitky. Psychosomatický stav, spánek, je doprovázen sníţením celkové aktivity, jak psychické tak fyzické, zejména sníţením aktivity motorických a senzorických systémů. Přestáváme vnímat realitu, ale dokáţeme reagovat na určité podněty a vlivy okolního světa. Tyto podněty mohou následně ovlivnit i naše snění. Spánek je cyklická záleţitost a u člověka je klasicky ovlivňována střídáním dne a noci, bývá tedy nazýván cirkadiánním cyklem (téţ diurnálním). U zvířat se v porovnání s člověkem tento cyklus mění rychleji, a tudíţ dochází i k rapidnějšímu střídání fází spánku2. V 50. letech byly zahájeny systematické výzkumy spánku u malých dětí (Kleitmanem a Aserinským), kde byly pozorovány koordinované pohyby očí pod víčky, které začaly být následně spojovány s otázkou snění. V roce 1953 bylo poprvé vysloveno označení fází spánku nREM a REM. Spánek má tedy dvě základní fáze, nREM (počáteční písmena anglického označení Non Rapid Eye Movement, tedy spánek bez rychlých očních pohybů), který se dále dělí 1 PLHÁKOVÁ, Alena. Spánek a snění: vědecké poznatky a jejich psychoterapeutické vyuţití. Vyd. 1. Praha: Portál, 2013. 258 s. ISBN 978-80-262-0365-0. s. 15 2 PLHÁKOVÁ, Alena. Spánek a snění: vědecké poznatky a jejich psychoterapeutické vyuţití. Vyd. 1. Praha: Portál, 2013. 258 s. ISBN 978-80-262-0365-0. s. 18, 19 5 na další čtyři fáze a REM spánek (Rapid Eye Movement ), s rychlými očními pohyby3. (viz kap. 1.2) 1.2 Přechod do nevědomí Přechod z bdělého stavu do stavu spánkového probíhá vţdy podle stejného vzorce, ale u kaţdého člověka rozdílným tempem. Stav, ve kterém se nacházíme při přechodu z vigility ke spánku, se nazývá hypnagogický. V této fázi dřímáme a náš organismus se pomalu zklidňuje a připravuje ke spánku. Děj je doprovázen hlubokým dýcháním, sniţováním svalového napětí a klesáním krevního tlaku i tepové frekvence4. Usínání a hypnagogické stavy bývají doprovázeny různými svalovými záchvěvy, pocity pádu atp. V době dřímání vidíme různé geometrické tvary a obrazce, které si můţe člověk i záměrně vyvolávat, spolu s dalšími představami, které se mohou jevit jako sny. Tyto obrazy se kontinuálně proměňují. V některých
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