Theatre Design & Technology - Winter 1998 - 32

BEEB SALZER

wants. Even with the atypical teacher who encourages creativity, students face a cultural contradiction. On the one hand
they have been taught to "only color within the lines" and on
the other, they are asked to "be creative." This contradiction
must be addressed if personal voices are to be freed from the restrictions of rules. Breaking the rules in art, as in life, is dangerous,
risky. And that is the point. Taking risks is essential for creativity.
Thus, an educational atmosphere must encourage risk taking to
permit students to explore their own sources of inspiration.

"Risk! Risk anything! Care no more for
the opinions of others, for those voices.
Do the hardest thing on earth for you. Act
for yourself. Face the truth. "
Katherine Mansfield
If finding unusual patterns and making connections between disparate images is aided by a willingness to take risks,
might this explain why so many artists are outsiders, members
of excluded racial, religious, national or sexual groups? Not
only do outsiders, by definition, come with perceptions of reality
which differ from those accepted by the majority society, they also
may be more accustomed to taking risks, Perhaps they have less to
lose or less concern for the rules of a dominant society.

"Great wits are sure to madness near allied; And thin partitions do their bounds
divide. "
John Dryden
Society has historically pictured artists as unbalanced
and contributes, therefore, to the pressures which can actually
make artists strange and somewhat crazed. Current thinking,
however, while accepting the notion that some artists may be
more psychologically disturbed than the average person, sees
the creative process as a healthy way of dealing with problems.
Moreover, art may be produced by those who suffer from
mood disorders but not by those with psychosis. II
According to a recent snldy with astonishing figures,
great artists are ten to thirty times more prone to manic de30

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T D It T

pressive illness and major depression than is the general public. Alcoholism afflicts sixty percent of actors, forty-one percent of novelists and three percent of scientists. In addition,
seventeen percent of the actors studied were found to be
manic depressive as compared the one percent of the public. 1l
This information comes from scientists armed with new imaging techniques which allow them to see what is happening in
the brain as well as statistical evidence that supports the anecdotal evidence which, for some time, has linked genius to
madness. While the information is interesting and frightening,
it is, ultimately, not useful to our exploration of creativity. Neither in education nor professional practice are we willing to
induce madness.
Of course, a kind of madness can be self induced with
drugs or alcohol. Current and historical accounts of drug and
alcohol use by artists opens up a vast sink hole of opinion and
conjecture. Although the debate mostly focuses on issues of
morality and the norms of society, the only question of relevance
here is does a given substance promote creativity? Is it possible by chemically altering the brain to tap into areas of creativity which are available in no other way? Choose your side.

"If a man were deprived ofsexual ftllfillment and the nobler enjoymetlts arising
therefrom, all poetry, and probably all
moral tendency would be eliminated
from his life."
Baron Richard Von Krafft-Ebing
How does sex effect the creative process? Here again the
available information is mostly anecdotal and contradictory.
Some artists claim that having sex is a substitute for creativity
and diminishes their artistic efforts. Other artists feel that sex
is a necessary component of their creativity. Some believe that
when they are most creative, their sexual appetite is heightened. Sex and creativity seem to be related even tllOugh how
remains speculation. Freud said that goal of a male artists was
the attainment of honor, power and the love of women. I}
I ature provides ample evidence of how beauty is employed
to attract mates for procreation: 'funeful bird calls, colorful plumage and decorating nests \vitll shiny materials are examples. But
these are instinctual actions rather than conscious acts of creativity. Joyce McDougall, however, clain1s that "... all creativity, although its specificity \ViU always elude us, springs originally from
the body and the way its instinctual drives are represented and
structured from the earliest beginnings of psychic life." 14
Dr. Albert Rotllenberg has some interesting thoughts on the
connection between human creativity and se\lIality. He posits iliat
psychologically, creativity is ilie opposite of dreaming. "Dreams
function to express forbidden \vishes but, because of censorship,
dream mechanisms and processes distort and disguise tllese
wishes in order to reduce tile anxiety connected \vith their expression." The artist reverses the process by expressing troubling
\vishes, many of which have a libidinous foundation. Artistic creation causes anxiety which ilien produces heightened awareness,
physical and mental arousal and stinlUlation. "Sexual impulses
aroused during ilie creative process might induce conllictual anxi-



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1998

Contents
Theatre Design & Technology - Winter 1998 - 1
Theatre Design & Technology - Winter 1998 - 2
Theatre Design & Technology - Winter 1998 - 3
Theatre Design & Technology - Winter 1998 - Contents
Theatre Design & Technology - Winter 1998 - 5
Theatre Design & Technology - Winter 1998 - 6
Theatre Design & Technology - Winter 1998 - 7
Theatre Design & Technology - Winter 1998 - 8
Theatre Design & Technology - Winter 1998 - 9
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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