Posts Tagged ‘May Day Parade’
Creative Rebellion and Your DIY Career
Creativity + Freedom = Finding Your Work
We’ve finished our last session of freelance copywriting at the University of Northwestern—St.Paul. And now, after all the boring, blathery lecture stuff and all the portfolio additions and all the clever advertising we’ve seen, the bottom line is freelancing is a business of making it up as you go.
Just like no one can teach you to write (though teachers offer suggestions and direction, writing remains something one learns on one’s own), no one can teach you to rebel or to cultivate a disruptive presence in your work. Writing your way into and through creative rebellion is the beginning point to locating a solution to a problem that connects with an audience.
Freelance copywriting has by no means cornered the market on these qualities of creative rebellion. But those freelancers invited back provide value by looking at things deeply and differently. These are the folks who have organized their lives around creative rebellion and get antsy when asked to follow a party line.
Let there be more of this tribe.
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Image credit: Kirk Livingston
Audiences Read an Actor’s Use of Space
Keith Johnstone: Impro
May Day Parade, South Minneapolis, 2013
When I was commissioned to write my first play I’d hardly been inside a theatre, so I watched rehearsals to get the feel of it. I was struck by the way space flowed around the actors like a fluid. As the actors moved I could feel imaginary iron filings marking out the force fields. This feeling of space was strongest when the stage was uncluttered, and during the coffee breaks, or when they were discussing some difficulty. When they weren’t acting, the bodies of the actors continually readjusted. As one changed position so all the others altered their postures. Something seemed to flow between them. When they were ‘acting’ each actor would pretend to relate to the others, but his movements would stem from himself. They seemed ‘encapsulated’. In my view it’s only when the actor’s movements are related to the space he’s in, and to the other actors, that the audience feel ‘at one’ with the play. The very best actors pump space out and suck it in, or at least that’s what it feels like. When the movements are not spontaneous but ‘intellectual’ the production may be admired, but you don’t see the whole audience responding in empathy with the movements of the actors.
–Keith Johnstone, Impro: Improvisation and the Theatre (NY: Theatre Arts Books, 1979) 57
Actors act on something the rest of us respond to without knowing why.
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Image Credit: Kirk Livingston
conversation is an engine 