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?
Extract from Anne’s Blog – http://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)E.g., of real life PITCH The Secret Museum for the Broken Hearted