Theatre Design & Technology - Winter 1998 - 33

ety because they are forbidden or because they require discharge.
Or the alert, moderately tense state connected to creating gives rise
to feelings of attraction and the need for sexual discharge." The
payoff for the artist is control. "Though he is generally not aware of
it, the person engaged in creative activity is attempting to reverse
censorship of unconsdous material in order to gain increased
consdous control of his inner psychological world." I;
The relation between sex and creativity raises other questions. Do men create as a substitute for their inability to bear children-as a means of producing something that lasts after they are
gone? (This certainly would not be the case in theatre.) What then
of creative women, with or without children?

Do limitations hinder or encourage creativity? Artists
have produced masterpieces within the given architectural
constraints of the space on a wall, of a dictated color palette,
of a story to be told. Poets create within the limitations of a
sonnet form. Contemporary artists in formerly Communist
countries seem to have lost their focus; is this because they
need repressive conditions to oppose? In order to break the
rules and take risks, does the artist need government, religion,
aesthetic philosophy or popular culture to push against? If so,
are the spatial, financial and time limitations in producing theatre a plus rather than a minus?

"Art is limitation; the essence of every
picture is the frame."

"Imagination disposes of everything: it
creates beauty, justice, and happiness,
which are everything in the world. "

G.K. Chesterton

Blaise Pascal

Originally I planned to include comments from creative designers in the body of my article. I began calling people. When
I said I was writing about creativity, the universal first response
was laughter followed by a moment or two of silence and then
a serious and thoughtful discussion. Robert Israel, Peter
Maradudin, John Conklin and Patricia Zipprodt were either
-;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; foolish enough or trusting enough to allow
*
me to quote their ideas from the hasty
notes I took while we talked. Others asked
for a day or two and then sent along a written statement. Each response was so individual and valuable, that I decided to
include all of them in their entirety. Tony
Walton, with characteristic generosity,
added a rich lode of his favorite quotes,
many of which follow his own words.
I did not ask the same question of
each designer. The emphasis changed depending on how each conversations developed. Sometimes we explored creativity as
an abstract idea. At other times, we discussed the challenge of teaching students
to be creative. I also welcomed a personal
and introspective look at how the designer
found creative solutions.
The list of designers I talked to is by no
means exhaustive. I started by calling designers whose work Iadmired and stopped when
I had amassed a variety of ideas.They represented a spectrum of possibilities, demonstrating that there is no one way designers
think about creativity. And that, in away, turns
TONY WALTON
out to be an answer.

Patricia Zipprodt
Patricia Zipprodt spoke of her way of coming up with ideas.
After many years of success after success, she still thinks
creativity is a mystery. She does, however, have some techniques for working through the creative process. She
talked of going into "the valley of despair for awhile, sinking below consciousness." To do this, she tries to be alone
for several days. There is pain in this exploration because
she feels "there is nothing there." But then, as if from nowhere, an overall idea appears. This theme is echoed in
George Tsypin's comment below. Ms. Zipprodt touches on
another theme which Tony Walton brings up: the importance of craft in creativity. Ms. Zipprodt feels she understands her characters only when she knows what clothes
each one has in the closet. She doesn't go to a book for an
idea. Instead, she looks into a character's closet to select
the clothes for a particular scene. As for teaching creativity,
she believes a creative student is necessary and that "a
sharp eye can be trained."
Ms. Zipprodt and I discussed an area which did not
come up with the other designers; that is how to recognize
a creative idea when it comes along. Scientists who make
important discoveries repeatedly report that they know
they have a proper solution because of an aesthetic response; the solution is beautiful or elegant. Understanding
this, Ms. Zipprodt remembered her early experience working with the couturier Charles James, who designed elegant
clothes. "The flat patterns themselves were beautiful. Even
a gusset had a beautiful shape." (This brought back memories of my training with renderings and sketches-before
the age of model making. I knew when a set would work
from an aesthetic response to a ground plan.)
TDlrT

WIN T

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9

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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
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