Sparks of Genius: The Thirteen Thinking Tools of the World's Most Creative People by Root-Bernstein Robert S. & Root-Bernstein Michele M

Author:Root-Bernstein, Robert S. & Root-Bernstein, Michele M. [Root-Bernstein, Robert S.]
Language: eng
Format: epub
Publisher: Houghton Mifflin Harcourt
Published: 2013-08-25T22:00:00+00:00

• Practice “inner attention, which centers on things we see, hear, touch, and feel” in real and imaginary circumstances. This means observing your own responses to the world and also remembering physical and emotional memories of your responses. How does it feel to open a door? How is this related to the “script” by which the physicist describes the door opening? Actors in any field may exercise this inner attention by remembering and reenacting the feelings of their daily lives.

• Practice “external attention” to people and things outside yourself. Actors study other people and things closely. Stanislavsky made his students recall as many details as possible of objects seen once and then hidden. He himself learned to imitate exactly the physical habits he found interesting in others. This approach is beneficial whether one is describing or imitating the behavior of chimpanzees, clocks, or quarks. How would they respond to a particular situation or stimulus?

• Imagine what the object of your external attention is sensing and feeling; get close to it. Pretend that its world is your world, its sense organs or physical attributes yours. How would you feel, behave, respond if you were it? Find connections to sensations and emotions that exist in yourself. Even as this approach made Stanislavsky “feel akin to the character in the play and indeed made me one with him,” so can it allow you to “feel” what the cell, the virus, or the carbon atom “wants to do.”

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