Jung

Dream On - Part 4: A Dream Analysis Technique

Approaches to dream analysis abound, including Freudian, Jungian, shamanic, culture dreaming, and problem solving techniques. One method I’m especially fond of is Gestalt dream analysis.

Gestalt psychology was developed by Fritz Perls (1893–1970) and Laura Posner Perls (1905–1990) in reaction to traditional psychoanalysis.

Instead of focusing on past trauma, Gestalt focuses on the here and now. It uses experiential techniques, including dream work, to help individuals safely and directly confront and work through difficulties. In addition to Fritz and Laura Perls’ early studies with leading psychologists, theologians, philosophers, and developers of bodywork approaches such as Feldenkreis and Alexander technique, Laura Perls was a student of movement and dance and an accomplished pianist, and Fritz Perls had a strong background in theater. Their artistic training is easily evident in the approach they developed, and this is in turn helps make Gestalt dream work particularly well suited to developing our creativity.

Basic principles of this approach include:

  • Everything in the dream is an aspect of the dreamer
  • The dreamer reenacts the dream in the here-and-now
  • The dreamer sticks to the scenario of the dream, instead of generalizing based on waking life
  • The parts that are not “I” are emerging consciousness
  • Dreams are embodied consciousness
  • Only the dreamer can discover the dream’s meaning

Let’s take a closer look at the first three of these principles:

Everything in the dream is an aspect of the dreamer: The German word gestalt, as used by Fritz and Laura Perls and other German psychologists who inspired their work, means “something that is made of many parts and yet is somehow more than or different from the combination of its parts; broadly, the general quality or character of something.” When applied to dream work, the word points to the fact that dreams include various characters, objects, forces, settings, and moods, and that all of these elements are aspects of the dreamer’s mind. These elements combine to reveal something the dreamer is working through. Gestalt dream work stays focused on the meaning of each aspect of a dream in the context of that particular dream. As Kenneth Meyer (President of the New York Institute for Gestalt Therapy founded by Fritz and Laura Perls) puts it,

A horse within a dream is not any horse, but a specific horse, in a specific setting and in a specific relationship to the other figures. Associating to “horse,” or even acting out one’s general idea of a horse, will not give insight to the motivations and interactions of this particular dream-horse, at this particular time and in this particular context.

The dreamer reenacts the dream in the here-and-now:  Gestalt theorists see experiential here-and-now reenacting of a dream as much more powerful and effective than intellectual analysis. The individual slowly retells the dream as if it’s happening now, beginning by establishing the dream’s mood. To appreciate the gestalt of the dream, the individual inhabits not only the “I” of the dream but every other prominent aspect of it, knowing that every aspect is part of the dreamer. Jack Downing, a founder of the Gestalt Institute of San Francisco, describes it this way:

… If I am driving along a dream highway, the car, the road, the passing automobiles, the distant mountains, the unseen dread, all are me … The car in my dream isn’t my actual car, it is my impression, my memory trace of that automobile, having attributes and opinions and attitudes coming from me, not the vehicle.

The dreamer sticks to the scenario of the dream, instead of generalizing based on waking life: Approaching dreams in this way takes practice, because it’s tempting to think of elements in the dream in the terms one usually thinks of them in waking life. Just as the dream car isn’t the actual car, people from our waking lives who show up in our dreams aren’t the actual people. When Aunt Minnie appears in a dream, it’s important in the retelling to stick to what she is doing, saying, and feeling in this dream, not get caught up in describing her typical behavior in waking life. And Aunt Minnie’s appearance in last night’s dream might have a completely different import than her appearance in another dream.

Up next: A closer look at the remaining core principles of Gestalt dream work.

Dream On - Part 3: Recording Dreams

On the verge of leaving Providence, where I’d attended college, to head out to San Francisco and start inventing adulthood, I met a woman who was deeply involved with dream work. Sitting on a sunny deck with a couple other recent grads, she described how her Jungian analyst was having her write and draw her dreams.

This creative approach to self-development intrigued me. A couple summers later, when I backpacked around Europe for six weeks, I carried a small sketchpad and fine-point markers. I wrote my dreams in detail and then, when I had the time—sitting in the 300-year-old stone house of a friend of a friend amongst olive orchards outside Lucca, or in the garret of the home of childhood friends in Paris’s 16th arrondissement, or in a cramped bed-and-breakfast in Bloomsbury, or on a bench in Munich’s Englischer Garten—I’d select a prominent dream image to illustrate.

I embraced the Jungian approach of plunging into visual art low on technique and high on commitment to dream life—I allowed my drawings to be primitive, knowing skill wasn’t the point. And I liked the way the drawings complemented the words while making their own claims on my attention. Over the years, though I’ve rarely looked at them, I’ve never forgotten them. They have carved their own grooves into my neural pathways.

That summer was the only time I regularly drew my dreams (although writing about it here makes me want to do so again). But I’ve continued to write my dreams. In the process I’ve discovered things about the mechanics of doing so that I’d like to share with you.

Writing in the dark won't earn you high marks in penmanship—but with practice, it's legible.

Writing in the dark won't earn you high marks in penmanship—but with practice, it's legible.

  • Pay attention to even vague images and sensations that seem like part of the dream, and describe them as best you can.
  • Some people prefer to write out their dreams fully upon waking, to capture as much detail as possible. However, if you’re short on time—and who isn’t—even briefly jotting a few phrases or words describing the most vivid images or events very often allows further recall later.
  • As we practice dream recall, it’s common after some time to begin waking with such vivid memories of our dreams that we think it’s impossible to forget them, so we forgo or delay writing them down. But even vivid dreams can disappear easily into the unconscious the longer we’re awake. Discursive thinking—a very strong habit—suppresses our dreams. So keep pen and paper handy and remind yourself that even a minute of jotting upon first waking will give you permanent access to your amazing dream.
  • If you live with others, you might wish to explain to them that you’d like to remain in silence until you’ve jotted your dreams. This may feel odd at first but it can become very comfortable and allow a new way of relating—mutual silence in the service of doing something important. This is a cherished practice at silent meditation retreats where people live in silent community for days, weeks, even months on end.
  • If you share a bed with someone, think about how to record your dreams in a way that doesn’t disrupt their sleep, for example turning journal pages quietly. If you choose to jot at night, training yourself to write in the dark eliminates the problem of waking others up by turning on lights. Or you might experiment with an inexpensive LED book light. I like writing in the dark. I fold down the corner of the next blank page and place a ballpoint in the journal at that spot. When I wake from a dream in the wee hours, I grope for my journal and, eyes closed, do my sleepy best to write legibly. Generally I fall asleep again right away, happy that I’ve caught the dream by the tail before it has slithered back into my unconscious.
  • Some people like discussing their dreams with friends and loved ones. This is the basis of rich conversation and a great means of deepening intimacy. On the other hand, if you’re using dreams to stoke your creative process, you may find that relating to them privately supports that process. Experiment and see what feels right.

Happy dreaming!