Study the Performer?!Study the Performer?!… … to inquire into Creativity in education, in environmental to inquire into Creativity in education, in environmental

matters, business management, culture… ?! matters, business management, culture… ?! What forWhat for?!?!

John J Schranz

WhatWhat is itis it, that the , that the EMA-PS programme EMA-PS programme

is proposing?is proposing?

Is it proposing to teach performance techniques, Is it proposing to teach performance techniques,

be they in theatre, or in sport?be they in theatre, or in sport?

The answer is a categoric The answer is a categoric “No”“No”. .

The key lies in the origin of the word “perform”The key lies in the origin of the word “perform”

The word “perform”, written as we know it, The word “perform”, written as we know it, dates back to the 13dates back to the 13thth century. century.

A single writing error changed it.A single writing error changed it. From From “parfour“parfourNNir” ir” (to give – furnish – completely), (to give – furnish – completely),

it becameit became “parfour “parfourMMir”ir” – via a mistaken link with “form”.– via a mistaken link with “form”.

As a result, its real meaning –As a result, its real meaning –

i.e. i.e. to to ggive oneself completelyive oneself completely – –

became hidden and then… it was lost.became hidden and then… it was lost.

The EMA-PS programme is The EMA-PS programme is notnot proposing proposingthat Creativity & Innovation that Creativity & Innovation

are prerogatives of performers,are prerogatives of performers,whether in theatre or sportwhether in theatre or sport

What EMA-PS is saying is:What EMA-PS is saying is:

There are some There are some very special and unique factors very special and unique factors

which make which make the the PerformerPerformer

a unique locus for studying crucial questions:a unique locus for studying crucial questions:

1. We all know the stress of being closely observed while working.Performers in Theatre and Sport have it all the time – and yet :

they manage to creatively thrill their observers!

WHAT STRATEGIES DO THEY USE?!

2. What contexts encourage 2. What contexts encourage CreativityCreativity? ? AND WHAT AND WHAT CONTEXTSCONTEXTS INHIBIT IT?! INHIBIT IT?!

3. If it is true that the faculty of being Creative is unique to Humans,

then WHAT IS IT TO BE HUMAN?WHAT IS IT TO BE HUMAN?

Is it possible to work around those questions Is it possible to work around those questions so as to find answers that could push us so as to find answers that could push us

forward?forward?

What fields of inquiry What fields of inquiry may help us… what disciplines?may help us… what disciplines?

EMA-PS’s proposals stem from one EMA-PS’s proposals stem from one particularly important consideration on particularly important consideration on

anyany kind of performance kind of performance

The very essence of performance is for others The very essence of performance is for others

to seeto seeto beholdto beholdto witnessto witnessto intuitto intuit

What one wants, from ANY performative event,be it theatre, sport, dance, music, singing…

is to SEE, to WITNESS, the other –

AS S/HE IS ENGAGED IN THE ACT OF DOING

It’s NOT a question of seeing what the other HAS DONE.

What one wants is to see the other DOING.

Moreover, what one hopes for most, then, is

that the performer, in doing,

WILL BE CREATIVE.

The true desire, really, is to witness creativity occur.

And this has to do with an intuition – And this has to do with an intuition – an intuition one is rarely aware of, however :an intuition one is rarely aware of, however :

In the act of performance, In the act of performance, there is no studied and talented handling of there is no studied and talented handling of

a MEDIUMa MEDIUM

Performer is, Performer is, at one and the same timeat one and the same time,,

“artist” “artist” “medium” “medium”

“artistic act”“artistic act”“creative event” “creative event”

“objet d’art”“objet d’art”

In beholding the Performer, In beholding the Performer,

what one is seeing, witnessing, what one is seeing, witnessing, isis

the studied and highly organised handling the studied and highly organised handling

of of

the Selfthe Self

In performance, what one goes to see is :In performance, what one goes to see is :

a manifestation of the Self –a manifestation of the Self –

strivingstriving

in a manner that isin a manner that isorganised,organised,organic,organic,knowing,knowing,reflective,reflective,structured,structured,disciplined,disciplined,

and technicaland technicalto fulfill the Human Being’s Creative Potentialto fulfill the Human Being’s Creative Potential

… … not only for fulfilment on the individual level, however,not only for fulfilment on the individual level, however, but also for fulfilment on the but also for fulfilment on the COLLECTIVECOLLECTIVE level level

… … a desire for the transcending of confrontationa desire for the transcending of confrontation

… … a manifestation of a desire to arrive…a manifestation of a desire to arrive…

somehow… somehow…

at creative and aesthetic human encounters with others – at creative and aesthetic human encounters with others –

propelled, however, propelled, however, not so much by those in the encounter but, rather,not so much by those in the encounter but, rather,

by a totality that emerges from them… by a totality that emerges from them…

a totality that,a totality that,at the same time,at the same time,

contains themcontains them.

It is the desire, also, to arrive at a new awareness It is the desire, also, to arrive at a new awareness of what might be the genesis and the true nature ofof what might be the genesis and the true nature of

Creativity …Creativity …

a new awareness …a new awareness …

far removed from the far removed from the uncanny, disturbing, awe-inspiring, ground-shaking, uncanny, disturbing, awe-inspiring, ground-shaking,

estranging, competitive, dominance-oriented aspects which,estranging, competitive, dominance-oriented aspects which,

all too often, all too often,

it is associated with in “Western” culture.it is associated with in “Western” culture.

Seen in this light, it resonates with Seen in this light, it resonates with Poincarè’s insight of over 60 years ago,Poincarè’s insight of over 60 years ago,anticipating Cybernetics by 30 or 40 years :anticipating Cybernetics by 30 or 40 years :

the infinitely small, the infinitely small, infinitely constant,infinitely constant,infinitely infinite infinitely infinite

continuity of process and flux.continuity of process and flux.

The MSPC course programmeThe MSPC course programme, conscious of , conscious of the times we are living in and of the urgent need the times we are living in and of the urgent need for a true science of performative creativity, for a true science of performative creativity, is seeking others is seeking others ready to goready to go into the inquiry together with it. into the inquiry together with it.

Inquiring into this, demands :Inquiring into this, demands : •the analytic rigour of the sciencesthe analytic rigour of the sciences•the reflective rigour of philosophythe reflective rigour of philosophy•the humility of ethologythe humility of ethology•the breadth of vision of cultural studiesthe breadth of vision of cultural studies•the dynamism of complexity studiesthe dynamism of complexity studies•the shrewdness of managementthe shrewdness of management•… … and the praxis of disciplines of performanceand the praxis of disciplines of performance