The Creative Process…and the PPP

The important thing is somehow to begin. (Henry Moore)

Just found this free app by Brian Eno.  He has lots to say about the creative process http://99u.com/tips/7034/Developing-Your-Creative-Practice-Tips-from-Brian-Eno

Current neuroscience research confirms what creatives intuitively know about being innovative: that it usually happens in the shower. After focusing intently on a project or problem, the brain needs to fully disengage and relax in order for a “Eureka!” moment to arise. It’s often the mundane activities like taking a shower, driving, or taking a walk that lure great ideas to the surface. Composer Steve Reich, for instance, would ride the subway around New York when he was stuck.

What can we learn from how others work?

creative-process-poster

http://www.kymcism.com/projects/posters/creative-process-diagram/

Extract from Anne’s Bloghttp://siti.groupsite.com/post/january-2012-the-blank-page

For me, beginning is simultaneously exciting and harrowing. My blood churns rapidly; my body is full of energy and a certain tension. I feel awkward, ill equipped and uncomfortable but also grateful for the engagement.  The effort is real.  Perhaps beginnings should be attempted with regularity.  How can the act of beginning be consciously repeated for the sake of the artistic process?  Can the final week of rehearsal be approached with what the Buddhist’s call “beginner’s mind?”

I have learned that in the deepest panic around beginning a process, it is best to start with something small and do-able and build upon that.  Write a sentence, make one choice or reach out to someone to discuss an issue.  And then, as the process unfolds, and as long as you keep at it and stay attentive and resolute, everything else will eventually fall into place.

A couple of articles….

The Archeology of Performance by Mary Zimmerman

Quick quote from the above

There’s no time to think up the polite or normal ways to express something theatrically; you have to go with the first idea you get, the one that deeply embarrasses you and that you wouldn’t normally bring up, that you would censor were there time for a sec- ond thought. I have felt the will of a text asserting itself—I’ve felt the drive it has towards living, towards life. Musicians talk about this all of the time, that the instrument is playing them. I feel this way in rehearsal: we have all felt the palpable presence of the text entering the room. My job is to be an open door.

Preparing to Devise by Susanna Morrow, Gleason Bauer & Joan Herrington – discusses using Framing, Moments and Viewpoints for devising theatre

I don’t know of any good work of art that doesn’t have a mystery. (Henry Moore)Screen Shot 2012-12-03 at 09.51.48E.g., of real life PITCH The Secret Museum for the Broken Hearted

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About La (Paula) Mor

La (Paula) Mór is a theatre teacher and director. She has taught and directed in the UK and internationally for 20+ years, both at Secondary and University level. La is currently working on Jeju Island in South Korea at Branksome Hall Asia where she develops original, contemporary theatre with her students and continues research into the applications of the Viewpoints in Theatre Education. La has been trained in Anne Bogart's 9 Viewpoints by SITI Theatre Company and Zen Zen Zo and delivers international Viewpoints training to young people, undergraduates, performers and lecturers. Academic background: BA(Hons) Bristol University; PGCE Leeds University; MA Applied Theatre, Central School of Speech and Drama.

55 Responses

  1. Madame mati

    Lighting- choice of light, color of light, angle of light, intensity of light, number of lights, size of lights, reveal/conceal the lights,

      1. Madame mati

        Use of time- viewpoints- duration, tempo, repetition, duration of the play, time of day (both inside and outside the play)

      2. Madame mati

        Creative process- reproduction, original creation, reconstruction, cutting and sticking together bits of other performances and directors, theatre genres, specific models, viewpoints, improvisation in rehearsal, created by a group or a single director,

  2. MATILDE VIEIRA DE ALMEIDA

    lightning, costume, set, inspiration, stimuli, sound, effects, colors,
    actors, description, place, stage, directions, influences, ideas

  3. Maria

    You need to include first your pitch which you explain your general concept, plot, stimulus, and other general ideas, which consist of 250 words. Then you need to draw the rest of your plan which includes stage design, costumes, lighting, plot and characters. You should also show how you got to your idea.

    1. Maria

      You should also put sound effects, music, series of actions, and theatre genres. Say which theatre practitioners are you inspired by.

      1. Maria

        aim of performance. Mention also if the characters are based on real people or fiction, what was happening around the time the play was set in and why is this important to your play

  4. Rob Wa

    lighting – choice of colour/ designs
    costume – Colour scheme/ change of costume (if anything)
    set – design
    make-up
    story – Reason for story/ how it relates to stimuli/
    rehearsal process – In order to get from point A to point B
    props – if symoblical
    section from script – Original to show the style of language and form of speech used
    sound and music – Examples
    saudience – The target audience and desired respon

  5. Rob Wa

    lighting – choice of colour/ designs
    costume – Colour scheme/ change of costume (if anything)
    set – design
    make-up
    story – Reason for story/ how it relates to stimuli/
    rehearsal process – In order to get from point A to point B
    props – if symoblical
    section from script – Original to show the style of language and form of speech used
    sound and music – Examples
    audience – The target audience and desired responce

  6. MATILDE VIEIRA DE ALMEIDA

    references, practitioners, influences, how much of our own idea was put into it, to what extent were we inspired on something, where it lead us how we did the research

  7. tascha

    Social and Political Issues – The time era, political issues surrounding the era, important issues occurring at the time, important ‘fads’ that were occurring

  8. Tiago Havik

    Location
    – Material of floor/wall/ceiling and effect on peformance
    – Shape of area (circular, arching roof)
    – Country/city
    Lighting
    – Choice of light (spotlight etc)
    – Colour of light (gel used)
    Costume
    – Costume Material
    – Costume colour
    – How costume relates to
    Make up
    – Type of Make up
    – Color and desired effect
    Target Audience
    – age group
    – gender
    Props
    Desired effect on Audience
    Possible to create (plausible)
    – Budget wise (e.g not costing 100,000 euros)
    – Scale wise (e.g not a 30 metre steel wall)
    – Action wise (e.g not jumping of the grand canyon)
    Script Extract
    – Script extract will help differentiate dance from theatre
    – Will show examiner that thought has been put into work

  9. Tiago Havik

    Social/Historical/Cultural context
    – Time period
    – Major events which might affect how people view the portrayal of certain themes (e.g performance dealing with terrorism performed shortly after 9/11 would not necessarily be well received) (apply this to modern day situation)
    – Cultural bias/acceptance of themes and topics explored (e.g cross dressing in Japanese Theatre considered fairly normal, but might be shocking elsewhere)
    – Economic situation and how it would affect people’s ability to view the performance (e.g if a performance is presented in a poor, the price of admission should be small or non existent)

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