Creativity
The Perfect Crime
(Sprache: Englisch)
In the vein of The Creative Habit and The Artist's Way, a manifesto on the creative process from a master of the impossible.
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In the vein of The Creative Habit and The Artist's Way, a manifesto on the creative process from a master of the impossible.
Klappentext zu „Creativity “
In the vein of The Creative Habit and The Artist's Way, a manifesto on the creative process from a master of the impossible.Since well before his epic (and illegal) 1974 walk between the Twin Towers of the World Trade Center, Philippe Petit had become an artist who answered first to the demands of his craft—and not just on the high wire, but also as a magician, street juggler, visual artist, builder, and writer. He was a rebel and an autodidact, cultivating the attitudes, resources, and techniques to tackle even seemingly impossible feats. His outlaw sensibility spawned a unique approach to the creative process—an approach he shares, with characteristic enthusiasm, irreverence, and originality, in Creativity: The Perfect Crime.
With the reader as his accomplice, Petit reveals fresh and unconventional ways of going about the artistic endeavor, from generating and shaping ideas to practicing, problem-solving, and ultimately pulling off the "coup” itself—executing a finished work. His strategies and insights will resonate with performers of every stripe (actors, musicians, dancers), practitioners of the non-performing arts (writers, artists), professionals in search of new ways of meeting challenges, and individuals simply engaged in the art of living creatively.
Lese-Probe zu „Creativity “
Make no mistake.I frown upon books about creativity.
Too often they gather only formulas, point at Einstein and the Beatles but
rarely at the author, propose exercises that mistake the mind for a gym machine
and conclude each chapter with a recap worthy of fifth-graders. In
aiming at the universal to satisfy the commonest denominator of human
thinking and behavior most of these books miss all of the originality, the
humor, the serendipity, the grace, the exceptions to the rule, the idiosyncrasies
that mold the way of art.
So if I don t believe in books about creativity, why am I writing one?
Although the original idea for this book was not mine it came from the
outside its entire content comes directly from inside, from a life I have
spent creating. I hope that my unconventional, insubordinate process of
creativity will offer insight for anyone struggling to achieve his or her
dreams.
Born into the confines of rigid parenting, repressive schooling and the
narrow-mindedness of a country busy manufacturing 365 types of cheeses,
quite early I started to rebel against authority. I was not very good at following.
I had to distance myself from the norm, to venture along solitary paths,
to teach myself.
At six, I taught myself magic; at fourteen, juggling; at sixteen, wire-walking.
In the process, I was thrown out of five different schools. Regardless, I would
never have let my schooling get in the way of my education.
Observation was my conduit to knowledge, intuition my source of power.
I spent my days taking things apart and rebuilding them; not asking how to
do something, but finding out; hiding from people in order to stare at them,
noting how they dress, talk, act, and noticing their mistakes . . .
As a teenager I spent considerable time at the circus and vaudeville theater,
witnessing the best acts in the world thereby setting my artistic standards
at an unusually high level. I would compare
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the overall effect different performances
had on me and decide who was the best dancer, the best ventriloquist,
the best stand-up comic. I would try on their styles and attempt their
routines. Ha-ha! Yet trial and error provided results.
All of this trying and failing and watching and trying again bred in me an
arrogant, proud and aggressive determination. Each discovery, no matter how
naive, had to be jealously hidden from the rest of the world. Each victory felt
like a stolen jewel. I fell into a natural state of intellectual self-defense. Let
me explain.
Always trying my best, I became guilty of pursuing perfection imagine
that!
Always working relentlessly, I became obstinate and almost felt guilty
about it.
To protect what triggered my creativity, I became secretive.
Anxious about being discovered, fearful of being caught, I ended up always
on the lookout.
At the outset of most projects, busy battling against overwhelming odds, I
came to believe the entire world was against me.
This was a reflection of reality as well as the frame of mind I needed to
be at my most creative. It coated my character with an outlaw sheen. And
I m sure that with my constant sneaking, my tiptoeing, my way of approaching
people inconspicuously from behind to spy on them or surprise them, I
must have looked like a criminal, and certainly others must have felt I was
one. And so I was not surprised the world around me reacted with suspicion
and mistrust!
Before I had reached eighteen, I had rewritten the Book of Ethics that had
been forced on me earlier, and before I knew it, I had acquired the mind of
a criminal.
My attitude as an artist grew out of the realization I d arrived at from an
early age: that my intellectual engagement, my imaginative freedom, had a<
had on me and decide who was the best dancer, the best ventriloquist,
the best stand-up comic. I would try on their styles and attempt their
routines. Ha-ha! Yet trial and error provided results.
All of this trying and failing and watching and trying again bred in me an
arrogant, proud and aggressive determination. Each discovery, no matter how
naive, had to be jealously hidden from the rest of the world. Each victory felt
like a stolen jewel. I fell into a natural state of intellectual self-defense. Let
me explain.
Always trying my best, I became guilty of pursuing perfection imagine
that!
Always working relentlessly, I became obstinate and almost felt guilty
about it.
To protect what triggered my creativity, I became secretive.
Anxious about being discovered, fearful of being caught, I ended up always
on the lookout.
At the outset of most projects, busy battling against overwhelming odds, I
came to believe the entire world was against me.
This was a reflection of reality as well as the frame of mind I needed to
be at my most creative. It coated my character with an outlaw sheen. And
I m sure that with my constant sneaking, my tiptoeing, my way of approaching
people inconspicuously from behind to spy on them or surprise them, I
must have looked like a criminal, and certainly others must have felt I was
one. And so I was not surprised the world around me reacted with suspicion
and mistrust!
Before I had reached eighteen, I had rewritten the Book of Ethics that had
been forced on me earlier, and before I knew it, I had acquired the mind of
a criminal.
My attitude as an artist grew out of the realization I d arrived at from an
early age: that my intellectual engagement, my imaginative freedom, had a<
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Autoren-Porträt von Philippe Petit
Philippe Petit
Bibliographische Angaben
- Autor: Philippe Petit
- 2015, 224 Seiten, Maße: 18,4 x 23,1 cm, Kartoniert (TB), Englisch
- Verlag: Penguin US
- ISBN-10: 1594633878
- ISBN-13: 9781594633874
- Erscheinungsdatum: 18.08.2015
Sprache:
Englisch
Pressezitat
Praise for Creativity: The Perfect CrimeGleeful Anyone involved in the performing arts will find Creativity useful. [A] kaleidoscopic manifesto . as richly insightful as it is vaingloriously irreverent. Read it. Use it to cross whatever tightropes you happen to be perched on. Minneapolis Star Tribune
Anyone curious about Petit s life and art, or hoping to draw inspiration for their own creative coup, will find ideas and insights in Creativity: The Perfect Crime. --BookPage
"Like all extraordinary artists, Philippe Petit's practice is founded in rigor, scrutiny, and dedication. What sets Philippe in a class all his own is his restless quest to conquer the greatest physical heights, achieving a precise balance of chaos and creativity. He is an inspiration to all who dare to dream of the seemingly impossible. Dear friend: I salute you!
--Mikhail Baryshnikov
A book as unique, open and inspiring as one would expect from its fundamentally revolutionary creator, a true original who does not accept accepted wisdom or take no for an answer. As I read, I kept underlining and thinking of friends I wanted to share it with---actors, writers, directors, anyone really. This book could be as powerful for kids as adults; I put a copy of it on each of my kids' nightstands and recommend you do the same.
--David Duchovny
If life itself is a walk on a wire, suspended between birth and death, in Creativity: The Perfect Crime Philippe Petit reminds us that the humble precision of every little step can lead to greatness.
--Francesco Clemente
I enjoyed the organization of chaos, the boldness of ideas, the insanity of Philippe s visions, the extreme discipline of planning, and the passion of the feat. It inspires to create not only on a sound concept, but also on a whim or a spark. I was thoroughly able to identify with his highs and lows and it was a great pleasure to have one so freewheeling put his methods down in a
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completely personal way."
--Julie Taymor
Philippe Petit created one of the greatest works of art of the twentieth century. He is also a most intelligent and original thinker (not to mention terrific company). How lucky we are to have him as a guide into the elusive and all-important subject of creativity."
--Jonathan Safran Foer
--Julie Taymor
Philippe Petit created one of the greatest works of art of the twentieth century. He is also a most intelligent and original thinker (not to mention terrific company). How lucky we are to have him as a guide into the elusive and all-important subject of creativity."
--Jonathan Safran Foer
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