ESCAPE TO FREEDOM
I will express my thoughts on the creative industry studies, briefly and associatively. This is just the beginning of a creative process that will involve anyone inspired by this topic.
Creative industry – the term is interesting in itself, combining two mutually exclusive concepts: creativity and industry. Does that mean that the industrial process renews and reflects the creative process that led to the final product?
Does that mean that the product affects the technology of production?
Aren’t these two concepts more compatible than mutually exclusive?
And what came first – the chicken or the egg? The product or the process of production?
Can human beings be taught to act creatively?
An aphorism by Toma Bebić comes to mind: ”A smart person doesn’t need school, and teaching fools is useless” – says this promoter of love between cannibals; love each other, cannibals.
I choose examples from my experience and practice in theatre as a lecturer as well as a director, and these examples seem to me particularly inspiring for the creation of a curriculum for creative industry studies.
TRACING UNIVERSAL INTIMACY / On the trail of universal intimacy
My activity in general, so as well with respect to my work as a theatre director, is primarily focused on practical work. During a production process, I try to reflect, analyze and understand my experiences in practice. Once I grasp a causal chain, I start detailing instructions and exercises for the next rehearsal.
While developing a certain method of working and the respective tasks, I write down questions instead of answers, which disciplines me. Through that technique I realized that it is impossible to repeat or finish those processes that have already started. It is possible, however, to guide a process by shaping it into a result that is visible on stage.
The subconscious is a well from which creative solutions can be drawn. I am trying to fathom the subconscious with a group I have gathered to work on a task with me. My role is to enable contact with the subconscious, to make room for instincts and intuition; simply to start processes that shape everyone’s creativity. I assemble the products of these processes like a mosaic by using intuition to find the links that keep the (newly) formed material together and open up the possibility of communicating with the audience. Putting this puzzle together is fun for me and much simpler than participating in the process itself. But doing one without the other is not possible.
On Monday, February 12, 2001, the following heading could be found in the daily paper ”Der Tagesspiegel”: ”32 SEITEN IM ZEICHEN DES MENSCHLICHEN ERBGUTS” (”32 pages focusing on the human genome”) with a picture of Da Vinci inscribed in a circle on the cover, accompanied by the following title: ”Der Mensch ist entziffert / Das gesamte Erbgut wird veröffentlicht/ Nur wenige Gene Unterschied zur Maus / Hoffnung für die Medizin” (”Man has been deciphered / Genetic map to be published / Only a few genes distinguish us from mice / Hope for medicine”).
Perhaps those several genes that differentiate us from mice hold the code of creativity. I don’t know if anyone can say that they deciphered creativity.
So, without dreaming of deciphering creativity, I want to find the way to the human subconscious and to draw the authenticity of depth from that well. The pearls I find through this process define the play I aspire to.
Here I will explain two exercises and point out certain experiences gained through them