The Creative Habit: Learn It and Use It for Life

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One of the world’s leading creative artists, choreographers, and creator of the smash-hit Broadway show, Movin’ Out, shares her secrets for developing and honing your creative talents—at once prescriptive and inspirational, a book to stand alongside The Artist’s Way and Bird by Bird.

All it takes to make creativity a part of your life is the willingness to make it a habit. It is the product of preparation and effort, and is within reach of everyone. Whether you are a painter, musician, businessperson, or simply an individual yearning to put your creativity to use, The Creative Habit provides you with thirty-two practical exercises based on the lessons Twyla Tharp has learned in her remarkable thirty-five-year career.

In "Where's Your Pencil?" Tharp reminds you to observe the world -- and get it down on paper. In "Coins and Chaos," she gives you an easy way to restore order and peace. In "Do a Verb," she turns your mind and body into coworkers. In "Build a Bridge to the Next Day," she shows you how to clean the clutter from your mind overnight.

Tharp leads you through the painful first steps of scratching for ideas, finding the spine of your work, and getting out of ruts and into productive grooves. The wide-open realm of possibilities can be energizing, and Twyla Tharp explains how to take a deep breath and begin...
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In a career that has spanned four decades, choreographer Twyla Tharp has collaborated with great musicians, designers, thousands of dancers, and almost a hundred companies. She's experienced the thrill of shared achievement and has seen what happens when group efforts fizzle. Her professional life has been -- and continues to be -- one collaboration after another.

In this practical sequel to her national bestseller The Creative Habit, Tharp explains why collaboration is important to her -- and can be for you. She shows how to recognize good candidates for partnership and how to build one successfully, and analyzes dysfunctional collaborations. And although this isn't a book that promises to help you deepen your romantic life, she suggests that the lessons you learn by working together professionally can help you in your personal relationships.

These lessons about planning, listening, organizing, troubleshooting, and using your talents and those of your coworkers to the fullest are not limited to the arts; they are the building blocks of working with others, like if you're stuck in a 9-to-5 job and have an unhelpful boss.

Tharp sees collaboration as a daily practice, and her book is rich in examples from her career. Starting as a twelve-year-old teaching dance to her brothers in a small town in California and moving through her work as a fledgling choreographer in New York, she learns lessons that have enriched her collaborations with Billy Joel, Jerome Robbins, Mikhail Baryshnikov, Bob Dylan, Elvis Costello, David Byrne, Richard Avedon, Milos Forman, Norma Kamali, and Frank Sinatra.

Among the surprising and inspiring points Tharp makes in The Collaborative Habit:

-Nothing forces change more dramatically than a new partnership.

-In a good collaboration, differences between partners mean that one plus one will always equal more than two. A good collaborator is easier to find than a good friend. If you've got a true friendship, you want to protect that. To work together is to risk it.

-Everyone who uses e-mail is a virtual collaborator.

-Getting involved with your collaborator's problems may distract you from your own, but it usually leads to disaster.

-When you have history, you have ghosts. If you're returning to an old collaboration, begin at the beginning. No evocation of old problems and old solutions.

-Tharp's conclusion: What we can learn about working creatively and in harmony can trans- form our lives, and our world.
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Additional Information

Publisher
Simon and Schuster
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Published on
Mar 24, 2009
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Pages
256
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ISBN
9781439106563
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Language
English
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Genres
Reference / Personal & Practical Guides
Self-Help / Creativity
Self-Help / Personal Growth / General
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Content Protection
This content is DRM protected.
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Eligible for Family Library

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In a career that has spanned four decades, choreographer Twyla Tharp has collaborated with great musicians, designers, thousands of dancers, and almost a hundred companies. She's experienced the thrill of shared achievement and has seen what happens when group efforts fizzle. Her professional life has been -- and continues to be -- one collaboration after another.

In this practical sequel to her national bestseller The Creative Habit, Tharp explains why collaboration is important to her -- and can be for you. She shows how to recognize good candidates for partnership and how to build one successfully, and analyzes dysfunctional collaborations. And although this isn't a book that promises to help you deepen your romantic life, she suggests that the lessons you learn by working together professionally can help you in your personal relationships.

These lessons about planning, listening, organizing, troubleshooting, and using your talents and those of your coworkers to the fullest are not limited to the arts; they are the building blocks of working with others, like if you're stuck in a 9-to-5 job and have an unhelpful boss.

Tharp sees collaboration as a daily practice, and her book is rich in examples from her career. Starting as a twelve-year-old teaching dance to her brothers in a small town in California and moving through her work as a fledgling choreographer in New York, she learns lessons that have enriched her collaborations with Billy Joel, Jerome Robbins, Mikhail Baryshnikov, Bob Dylan, Elvis Costello, David Byrne, Richard Avedon, Milos Forman, Norma Kamali, and Frank Sinatra.

Among the surprising and inspiring points Tharp makes in The Collaborative Habit:

-Nothing forces change more dramatically than a new partnership.

-In a good collaboration, differences between partners mean that one plus one will always equal more than two. A good collaborator is easier to find than a good friend. If you've got a true friendship, you want to protect that. To work together is to risk it.

-Everyone who uses e-mail is a virtual collaborator.

-Getting involved with your collaborator's problems may distract you from your own, but it usually leads to disaster.

-When you have history, you have ghosts. If you're returning to an old collaboration, begin at the beginning. No evocation of old problems and old solutions.

-Tharp's conclusion: What we can learn about working creatively and in harmony can trans- form our lives, and our world.
Franz Kafka, frustrated with his living quarters and day job, wrote in a letter to Felice Bauer in 1912, “time is short, my strength is limited, the office is a horror, the apartment is noisy, and if a pleasant, straightforward life is not possible then one must try to wriggle through by subtle maneuvers.”
 
Kafka is one of 161 inspired—and inspiring—minds, among them, novelists, poets, playwrights, painters, philosophers, scientists, and mathematicians, who describe how they subtly maneuver the many (self-inflicted) obstacles and (self-imposed) daily rituals to get done the work they love to do, whether by waking early or staying up late; whether by self-medicating with doughnuts or bathing, drinking vast quantities of coffee, or taking long daily walks. Thomas Wolfe wrote standing up in the kitchen, the top of the refrigerator as his desk, dreamily fondling his “male configurations”. . . Jean-Paul Sartre chewed on Corydrane tablets (a mix of amphetamine and aspirin), ingesting ten times the recommended dose each day . . . Descartes liked to linger in bed, his mind wandering in sleep through woods, gardens, and enchanted palaces where he experienced “every pleasure imaginable.”

Here are: Anthony Trollope, who demanded of himself that each morning he write three thousand words (250 words every fifteen minutes for three hours) before going off to his job at the postal service, which he kept for thirty-three years during the writing of more than two dozen books . . . Karl Marx . . . Woody Allen . . . Agatha Christie . . . George Balanchine, who did most of his work while ironing . . . Leo Tolstoy . . . Charles Dickens . . . Pablo Picasso . . . George Gershwin, who, said his brother Ira, worked for twelve hours a day from late morning to midnight, composing at the piano in pajamas, bathrobe, and slippers . . .

Here also are the daily rituals of Charles Darwin, Andy Warhol, John Updike, Twyla Tharp, Benjamin Franklin, William Faulkner, Jane Austen, Anne Rice, and Igor Stravinsky (he was never able to compose unless he was sure no one could hear him and, when blocked, stood on his head to “clear the brain”).
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