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dominik loncar

on the creative impulse

Creating Playgrounds

Preuzmimo Benčić, Althea Thauberger, 2014. Photo by Milica Czerny Urban.
Preuzmimo Benčić, Althea Thauberger, 2014. Photo by Milica Czerny Urban.

Althea Thauberger, a Vancouver-based video artist, persuaded authorities in Rijeka, Croatia, to let her and over 50 local children (ages 6-13) take over an abandoned 19th-century factory. In her film, Preuzmimo Bencic (Take Back Bencic), Althea follows children over a five week period as they use various modes of expression like dance, movement, video-making, music, poetry and discuss and examine the relationship between play, work, cultural, tradition and what creating art and community means. The idea was to give children a full voice as “artists.”

What struck me was how little opportunity we give children to co-create and play. Creating communities that unleashes the instinct for children to play can only create more satisfying experiences. Simply put: Spaces that offer challenging experiences in a fun and direct way nurtures a child’s curiosity which in turn fosters their own creative impulses. It’s not just the physical space that is required but the philosophy behind it.

We don’t have enough playgrounds (and not enough creative ones)!

Preuzmimo Benčić, Althea Thauberger, 2014. Photo by Milica Czerny Urban.
Preuzmimo Benčić, Althea Thauberger, 2014. Photo by Milica Czerny Urban.

Mike Lanza has written a book, Playborhood, in response to children having far too much screen time and not enough face time. This in turn decreases access to places where they can play freely. Too many children have become so scheduled and supervised that they barely understand how to socialize with other kids. He shows how parents can “turn their neighborhood into a place for play” through simple yet imaginative games. Parents invite their neighbors’ kids. They turn their yard into a place for the neighborhood kids to play in. Their front yard. Their back yard.

Children become free to learn.

For over 20 years my good friends Susan and Susiawan have been advocating for the arts as a teaching and learning tool in Indonesia, Canada and Japan. For the last three years they have created and led exceptional programs for children, through their Yellow Coco Creative Nest in Ubud, Bali. Regardless of culture, social status, or community affiliation they offer lessons through the arts, bilingual shadow puppetry programs, mask-making and play, drawing lessons, story theater, singing, drumming, dancing and much more for the kids. They are the embodiment of creating a truly wonderful space for children.

I urge you to support their initiative of building a more permanent location, now that their 3-year lease is up.

Yellow Coco Creative Nest
Please click on Yellow Coco Creative Nest to find out how you can make a difference.

What playgrounds are you creating? Engaging in? Building?  Or have you forgotten the power of play?

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Artist as Scientist, Scientist as Artist

Daniel Kohn at work
Daniel Kohn at work

Creativity and critical thinking, at first glance, may seem like polar opposites. One is art. One is science. One based on emotions and intuition. One based on facts. Yet both are committed to the ultimate discovery. Science asks, “what is true?” Art asks, “what is the truth?”

I believe artists and scientists have a lot more in common then they think. Typically, if you’re an artist you will access critical thinking before and after your process of creation. Scientists, for the most part, will do the reverse; they will have a hunch (a creative impulse or hypothesis) then look to prove or disprove it through analysis and testing of facts.

What I find interesting is that both approaches work well when they complement each other, but not when they happen at the same time. In other words, it makes more sense when you’re writing a play to follow your impulses and just write (the creative process) and do critical thinking afterwords then it is to do both at the same time. Judging, while creating, will dampen creativity.

It is no mere coincidence that one of the Jungian archetypes is the Artist-scientist. They are inseparable.

As creators, I believe seeing ourselves as an artist who is a scientist and a scientist who is an artist is   healthy. Sticking to only one label on what and how we do things can creep into our psyche and restrict our approach.

Using both, at the appropriate time, can open us up to greater insight and better work.

What labels can you start using that you haven’t used before? Or maybe you prefer not to have any labels?  

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Defiant & Fired Up!

child-defiant-face

This year, Lumir Hladik (Associate Artistic Director of Theatre InspiraTO) and I, revisited the key message for our theatre company.  We came up with a new tagline. By no means does an organization, business or individual need a tagline. I wanted a tagline that was more than a catchy marketing phrase and one that really spoke to our philosophy. We came up with Defiant & Fired Up!

Defiant

…is an interesting word. To me defiance is being disobedient to the forces that squashes our spirit to create. However, defiance is not denial. When we deny reality, or the presence of fear, we become delusional. Too many times we walk around thinking we’re invincible. Susan Zeder in her book, Spaces of Creation, summarizes the approach, “The first step in dealing with fear, then, is to recognize its presence, to call it by name, to draw its shape and dimension, to recognize the sound of its voice. To touch the face of fear is to get close enough to spit in its eye.”

Fired Up

I am using “fired up” more as an active verb (not adjective), a call to action: to lift, to launch, to mobilize. To be inspired to act. To let go of perfection. In pursuing one’s art, one’s pulse to create, we take a hard look at all the steps required and act. We stay humble despite of, or inspite of, some of the difficult choices ahead of us.

Implied in the tagline or “mantra”  is a reminder on why we’re doing what we’re doing.

Choose your own personal mantra

Can you come up with your own mantra? Something that will remind you of your own personal philosophy. I recommend choosing two, maybe three words, but not more. Being succinct works best. The words can be adjectives (as I’ve done) or verbs or a combination. Play with the words. Rearrange them. Don’t get too literal. What’s more important is your intent behind the words. How will the words make you feel? What will they remind to do? Who will they remind you to be?

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What Do Your Ancestors Demand You Break the Silence On?

Ancestors-ImageThis is a question Yael Farber (a director and creator from South Africa) posed to applicants for the directing program at the National Theatre School of Canada: A question that is penetrating as it is challenging. You can say this question addresses your heritage, your community, your family. It draws upon generation upon generation of explicit and implicit expectations. You can take it literally, metaphorically or metaphyisically. You simply cannot stay indifferent.

John Bradshaw in his book, Family Secrets, talks about your “genogram”, an invisible family pattern that has influenced you – layers of unconscious secrets that develop and finally results in a “collective amnesia” – a multi-generational trance.  All long standing groups, he maintains, have some degree of this trance. Families have their own distinct brand of it.

These “secrets” influence our behaviour in ways we are not even conscious of. We particularly play this out in ways that curtails our self-expression or unleashes it in unhealthy ways.

For artists, and anyone involved in a creative venture, we know how judgment by those close to us, society around us and the critical voices inside our heads hold us back. They are powerful forces.

Questions can help break that deadlock. As I reflect on the question other questions come up:

What truths am I not facing?

What truths have I not spoken?

Not easy to answer. At the very least this activates my Muse so I can take more risk, confront my darker side and dare to step in the unknown.

I get glimpses of the answer. I know many of my father’s stories and how he came to Canada. I know the stories of the old country. I can see how my experiences growing up in a suburb of Toronto and being sent away to live with my uncle in a different culture has shaped me.

Yet, there’s more to those stories and dreams that have a hold on me. The best that I can do is remind myself of Rainer Maria Rilke quote:

…Live the questions now. Perhaps then, someday far in the future, you will gradually, without even noticing it, live your way into the answer.

What reaction do you get with the question: What do your ancestors demand you break the silence on?

What other questions does it invoke in you?

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Life is a Mystery to be Revealed

lumir terra cotaRecently, Lumir Hladik and I went on a hike on the Bruce Trail near Terra Cotta, Ontario.  It was an unusually sunny Autumn day; the weather was warm and most of the leaves still had not changed colour.  We walked through trails with white pine and spruce trees.  At various points Lumir would suddenly stop and draw my attention to a particular tree. The tree was either rotting, dieing or was mangled — what seemed to me more like a deformity or an oddity. To Lumir they were a marvel to behold. He would go on to explain the beauty he saw. In one instance this is what he said:

“A dead tree is a beautiful thing. It is a monument, a celebration of life… a shrine. It is full of tales. As the old trees fall apart and succumb to rotting and decay, they are opening up; revealing their past internal life in an ongoing flow of revelations. They are peacefully enjoying their fate. They are respectful and should be respected. As their demise is gaining strength, their wisdom is spreading out. Here, aging is a beautiful event and its manifestations provide an infinite display of wisdom and insight.”

Over the course of our hike I began seeing the splendor of a decaying tree. I began seeing the world through his eyes, particularly the natural world.

I was reminded about the quote, “life is not a problem to be solved but a mystery to be revealed.”

I think the world becomes more fascinating when we can see the world through someone else’s eyes. This is especially insightful when its one that is so unlike our own view.

Who can you ask to show you the world as they see it?

How can you experience the world as mystery to be revealed?

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After a Creative Project – Now What?

Blue balloon 1
The Blue Balloon by Angie Farrow. From L to R: Hershel Blatt, Kyle Shields, Nicola Atkinson, Caroline Toal. Directed by Nicole Wilson. 8th InspiraTO Festival, May 30 – June 8, 2013. Photo by Ismail Atiev.

After a major creative venture like doing a show, finishing a novel or producing a cd how do you feel? Are you invigorated? Do you feel a “let down”? Are you ready to move on?

It has been over a month since the close of this year’s InspiraTO Festival and I’m ready for a break. Immediately after the festival I always feel like Alice in Alice in Wonderland returning to the “real world” and needing time and space to re-adjust.

These are five things I do after a major project that allows me to re-ignite my passion and re-integrate my life:

1. Lessons learned. I write out the things that worked, what didn’t and what I need to change. Some of the reflections I already know (i.e. to keep asking for help – this year we had 153 artists and volunteers!). Other ones surprise me (i.e. to dig deeper when people are providing feedback to really hear what they are saying). Others reinforce my gut instincts to stick to my convictions (my vision and sense of integrity). It’s also important to re-affirm what I’m doing well and to build on that (i.e. the quality of the plays and acting keeps getting better).

2. Gratitude. Of course I thank everyone involved, but what I’m talking about is stepping back and marveling at all the wonderful happenings, coincidences and people that step forward to help out: the last minute fill-in of a director; finding a sound operator the last day; finding a creative solution when an actor pulls out in the middle of production; the amazing collaboration I have with Lumir the Associate Artistic Director etc. All this reminds me of the power of being appreciative and thanking the universe for giving me the opportunity.

3. Re-affirmation of why I’m doing this and does it make sense to continue. Every year I fine tune the festival and re-adjust. I ask myself: It this worth continuing? What do I need to keep adjusting to bring it closer to my vision?

4. Action agenda for the next year. This is not fixed in stone but eases my mind as to what key milestones I need to set for next year.  Steven Pressfield who wrote The War of Art , a fabulous book for anyone aspiring to be in the arts, mentions that once he finishes a project, he immediately starts the next one. The last project acts as fuel for the next one. The only danger of doing this too quickly is if you haven’t allowed for rejuvenation (see the next step below)

5. The Lull: Something I do that is outside the usual that does not involve my art directly. In the next week I’ll be heading off to Europe to visit a city (Istanbul) and then stay on an island in the Adriatic where my family is from. I’m not complaining. It doesn’t have to be as exotic as what I’m doing – an extended trip to the cottage will suffice – but it should be about placing yourself in a completely different environment or space. As Sheldon Rosen (who teaches at Ryerson University and is a dramturge in the festival) told me recently, there is a real danger that by constantly being attached to our smart phones or tablets it becomes more difficult to create a “lull”.   I make a point of not taking my smart phone or using any other electronic device. During the trip I read magazines and a Croatian novel, something I usually don’t do ( as an added bonus it also helps with the language while I’m there).  I may get some new ideas and I may not. The outcome is irrelevant. The mind and spirit are re-fueling.

What’s your way of refueling? What do you do after a major creative project?

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The Charge of the Expormidable Moose

Our friends at One Little Goat Theatre Company are opening their show ‘The Charge of the Expormidable Moose’ this Friday at the Tarragon Extra Space. One Little Goat was founded in New York in 2002, and has been based in Toronto since 2005, and it is acclaimed for its highly interpretive, provocative approach to international plays, including the Canadian and World Premieres of dramatic works. “The Charge of the Expormidable Moose” is one such play.

olg_moose_webcover

Widely considered to be Claude Gauvreau’s masterpieceThe Charge of the Expormidable Moose (La charge de l’orignal épormyable) revolves around a poet who is mocked and envied by his fellow housemates – or are they fellow inmates? Playful, provocative, powerful, this exceptional drama confirms Gauvreau’s stature as “a giant” (Le Devoir).

Claude Gauvreau’s plays have been championed by leading Quebec theatre artists but have never been produced outside of his native province. One Little Goat’s premiere finally gives anglophone audiences the rare opportunity to experience the genius of Gauvreau.

The show runs May 10 – 26, 2013 and features HUME BAUGH, DAVID CHRISTO, LINDSEY CLARK, SOCHI FRIED, BEN IRVINE, LINDSAY OWEN PIERRE, JESSICA SALGUEIRO.

Check out this “Moose Minute” with Sochi Fried to gain a little backstage insight into this fascinating piece!

Tue-Sat 8pm | Sun 2:30pm
Tarragon Theatre Extra Space

30 Bridgman Avenue Toronto
Tickets $25 | $20 student senior artist
+ $3 final week | Fri & Sun rush tix $13

Daniela Mazic: Artist in Action

During the coming weeks we will be highlighting a director or actor, who is part of this year’s InspiraTO Theatre Festival  (May 30 – June 8, 2013).  Read what artists have to say about the beauty and brevity of the ten-minute play.

This season, Daniela Mazic will be directing Daughters by Jordan Mechano. 
Synposis: A simple, tender conversation between a sixteen-year-old girl and her aunt reveals emotional tensions and personal surprises as the women navigate their familial bonds…

Image1. What excites me about this play is… the theme of family; we are all bound to family.  Jordan Mechano has written a thoughtful piece about those relationships that provide protection and nurturing, but sometimes not enough freedom.  What can we learn from the mistakes of our familial past?  How do these mistakes inform who we are to become?  Can we ever truly cut the cords that bind us to family?

2. The play I will be directing will be part of the YellowShow – plays where rope is an integral part of the play. The element of including rope in a play…  allows for an interesting exploration of character.  In this particular play it’s the cord that restricts the teenager and also the cord that keeps the characters connected, no matter how far they stray.

Image3. My way of directing is… I like to direct in a way that allows the text to shine, to make the choices that tell the story in a way that everyone can relate to.

4. The type of theatre that fascinates me is… that which depicts the human condition, how we make our way in the world, and the stories we tell that reflect our struggles and desires. 

5. At InspiraTO, this season, I’m looking forward to… working on capturing a complex but loving moment in the lives of daughters.

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Dale Sheldrake: Artists in Action

During the coming weeks we will be highlighting a director or actor, who is part of this year’s InspiraTO Theatre Festival  (May 30 – June 8, 2013).  Read what artists have to say about the beauty and brevity of the ten-minute play.

Dale Sheldrake’s play is titled ‘The Author’ and was written by Mirella Christou.

Underground plan

1. What excites me about THE AUTHOR is the mentoring/workshopping process. This is something new for me as a director, so to be able to work with the playwright and actors to develop the story is quite a thrill! It’s a different dynamic from a final script, and very cool to be able to work on the play knowing there is freedom and collaboration with Mirella Christou (playwright) to identify difficulties, go in new directions and use the inspiration of the cast to make the best play possible.

2. The play is in the OrangeShow series: plays located in a tunnel. What’s interesting about a tunnel is that it’s a location that is ‘between’. It’s not usually considered a starting point nor a destination. It’s something we use to travel to, or through, or under. So it’s useful metaphorically.

3. My style of directing is to… explore with the actors the details in a play and uncover the ones that are authentic to the story, moral or theme being portrayed. So with this play, it’s an ongoing process since the moments within are changeable. (At least during the first phase of rehearsals!)

4. I’m fascinated by many types of theatre… Suggestive sets can be really wonderful as the audience will summon their imagination very quickly to become involved with the story being told on stage. Elaborate stage sets are also intriguing, but it really depends on the story and how it can best be conveyed. And oh yeah, sometimes budget will affect that a teeny bit.

5. For InspiraTO 2013, I’m looking forward to… working with great words and strong skilled actors again. There is nothing like a theatre experience whether you are part of the creative team or a member of the audience, because it is a passionate, live, immersive and inviting form of entertainment! 

Dale profile bw

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