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LORBIT

"The Creative Habit"
WELCOME TO LORBIT
SENSING URBANITY
LISTENING FOR WORDS
VIEWING IMAGES OF MYSTERY
REFLECTING ON MEMOIRS
LOVING MUSIC
READING FOR LIVING
TRAVELING FOR ENCHANTMENT
PROTESTING IDIOCY

more about Twyla Tharp and "The Creative Habit."

 

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Twyla Tharp rouses herself out of bed every morning, goes down to the street, hails a taxi, and goes to the gym. This is the work ethic she needs in order to create dance productions.

Hailing the taxi is her "trigger" moment.  When she gets into the cab she’s on her way, she’s made the irreversible move– it’s virtually a "walk through fire" moment.

Tharp on the importance of rituals:

"First steps are hard: it’s no one’s idea of fun to wake up in the dark every day and haul one’s tired body to the gym. Like everyone, I have days when I wake up, stare at the ceiling, and ask myself, Gee, do I feel like working out today? But the quasi-religious power I attach to this ritual keeps me from rolling over and going back to sleep."

She finds that creative people have a "trigger" that propels them toward work. They establish rituals– automatic but decisive patterns of behavior at the beginning of the creative process– when they are most at peril of turning back, chickening out, giving up, or going the wrong way.

It’s a friendly reminder that they have a predictable, repeatable kick-start. ("I’ve done it before. It was good. I’ll do it again.")

They follow the routine and get a creative payoff. By making the start of the sequence automatic they replace doubt and fear with comfort and routine. The ritual arms them with confidence and self-reliance.

What works for one person is useless for another. There are no ideal conditions, except for a working environment that's habit-forming.

As the golfer Ben Hogan said "Every day you don’t practice you’re one day further from being good."

Tharp advises to put away the wristwatch.

"If you’re engaged in what you’re doing, time doesn’t matter. There are a lot of distractions out there, and you can live without them-- at least for a little while."

She talks about ‘creative DNA,’ and believes that we each have strands of creative code hard-wired into our imaginations that insinuates itself into our work.

Focus length is one facet of this "hard-wiring." We focus best at some specific spot along the spectrum. We see the world from a great distance, at arm’s length, or in close-up. We’re attached or detached, inductive or deductive.

She tells stories of creative folk and how they differ: choreographers with sweeping visions, and those, like Jerome Robbins, who tend to see the world from a middle distance. The photographer Ansel Adams had an expansive view. The writer Raymond Chandler saw the details– as if he were pressing his nose to the canvas to see how the artist applied his strokes.

She writes of the importance of knowing your ‘creative autobiography:’

"The better you know yourself, the more you will know when you are playing to your strengths and when you are sticking your neck out. Venturing out of your comfort zone may be dangerous, yet you do it anyway because your ability to grow is directly proportional to an ability to entertain the uncomfortable.

"Another thing about knowing who you are is that you know what you should not be doing, which can save you a lot of heartaches and false starts if you catch it early on."

To Tharp, metaphor is the life-blood of all art, if not art itself. It’s a vocabulary for connecting our experiences and expressing and interpreting our memories.

And then there’s getting in the groove:

"When you’re in a groove, you’re not spinning your wheels; you’re moving forward in a straight and narrow path without pauses or hitches. You’re unwavering, undeviating, and unparalleled in your purpose.

"A groove is the best place in the world. It’s where I strive to be, because when you’re in it your have the freedom to explore, where everything you question leads you to new avenues and new routes, everything you touch miraculously touches something else and transforms it for the better."

In the last 40 years, Tharp has created more than 130 dance productions. Her latest is the Broadway show of Billy Joel music, "Movin' Out."

Each project begins when she faces a large empty dance studio– when she doesn’t know what musicians she’ll be using, what dancers she’ll be working with, what the costumes or lighting will be like--and she goes from there.

It’s ritual, self-knowledge, practiced memory, and the ‘creative habit’ that gets her in her groove– and when she's there, ‘it happens.’

         
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