All it takes to make creativity a part of your life is the willingness to make it a habit. It is the product of preparation and effort, and is within reach of everyone. Feb 5, Written by world-renowned choreographer Twyla Tharp, The Creative Habit Summary brushes off the nature vs. nurture debate, revealing how. book is call The Creative Habit. Creativity is a habit, and the best creativity is a result of good work habits. That's it in a nutshell.” ~ Twyla Tharp from The Creative.
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The Creative Habit by Twyla Tharp - One of the world's leading creative artists, choreographers, and creator of the smash-hit Broadway show, Movin' Out, shares . has been successful in a creative profession has their own routine for preparing for their . to think in a different way. – From The Creative Habit by Twyla Tharp. Twyla Tharp - The Creative terney.info - Download as PDF File .pdf) or read online.
In your book The Creative Habit, you speak of creativity as a very pragmatic, almost businesslike endeavor. I think everyone can be creative, but you have to prepare for it with routine. The best artists are extraordinarily practical.
The most creative painters I know mix their own paint, grind it, put in the fixative. They make use of everything they have at their disposal. In my own work, everything is raw material.
Obviously, people are born with specific talents. In dance you see that some are better coordinated than others. This is not taught; this is something genetic. The best creativity is the result of habit and hard work. And luck, of course.
I think we can all agree that the luck of the draw governs every day.
Leopold Mozart was a sophisticated, broad-thinking man, famous throughout Europe as a composer and teacher. You advise people who want to be creative to get busy copying.
Should we be worrying about lack of originality?
Of course not. Brahms is the classic example here.
He was a consummate musician, and because he was so respectful of the great composers and of Beethoven in particular, he could not get out his first symphony until he was in his mid-forties. What a waste of time was that, what a waste.
And all because Brahms was totally intimidated. And you know what? We think that it has to do with modesty. Yeah, probably.
Real learning is not copying. Even though Braque and Picasso at a certain point in time were making canvases that were very, very close to one another, they were totally different artists, with totally different values and totally different philosophies and backgrounds and all the rest of it.
Working with the same problem did not interfere in any way with their learning or contribute to any lack of originality. You thrive on change. You have often followed one dance piece by launching the next as far as possible in the opposite direction.
That was a strategy of mine, a way to keep myself bouncing and not get stuck. Change drives my work, and it is as important to the creative process as habit is. I may have an easier time accepting change than some businesspeople do, because the body is constantly changing and so what I can do is constantly changing.
I cannot ask a dancer to do exactly what she did yesterday, let alone do it six months from now. It is going to be different. But even in other ways, I have all sorts of habits to foster change. When I look up a word in the dictionary, for example, I read the word before it and the word after it—you never know where the next good idea is going to come from.
I also read somewhat transactionally. But why do you think I am reading Tolstoy? I am not a writer, so I do what I can to educate myself. You make a choice to keep evolving and keep growing.
The business literature nowadays talks a lot about the need for failure in the pursuit of excellence. Do you accept that? Of course I do. Sooner or later, all real change involves failure—but not in the sense that many people understand failure.
True failure is a mark of accomplishment in the sense that something new and different was tried.
Ideally, the best way to fail is in private. I walk outside my Manhattan home, hail a taxi, and tell the driver to take me to the Pumping Iron gym at 91st Street and First Avenue, where I work out for two hours.
The ritual is not the stretching and weight training I put my body through each morning at the gym; the ritual is the cab. The moment I tell the driver where to go, I have completed the ritual. The point is in the ritual itself: one act that signals in our minds that the working day, whether it be creative or professional, has begun.
For me, this means rolling out of bed in the morning, walking into the kitchen and making a pot of coffee. The moment I hear the dripping hiss of the coffeemaker waking up, a switch turns on inside my brain that tells me it's time to get to work.
By the time I take my first sip, I am already sitting at my desk, planning out my projects for the day. Tharp says, "Turning something into a ritual eliminates the question, Why am I doing this?
By the time I give the taxi driver directions, it's too late to wonder why I'm going to the gym and not snoozing under the warm covers of my bed The ritual erases the question of whether or not I like it. It's also a friendly reminder that I'm doing the right thing.