I’ve been thinking about attitudes this week and how they colour ones approach to, and receipt of, well… everything. The thing that nudged me in this direction was an evening walk in beautifully golden sun in the fields and woods near my house. The sunlight was just fantastic and literally coloured everything.
This led me, in my tangential manner (you should all be used to this – this is post 10) to think about how an attitude of playfulness is necessary. This, my lovely readers, is where I went…
Eva Karczag described the way she approaches the act of dancing; ‘playing lightly, with complete absorption, utter conviction and intense pleasure, I enter and inhabit emergent worlds of the imagination and abandon myself to the physical delight of moving’ (Karczag, cited in Claid 2006: 209). Interestingly Karczag also notes the involvement of the imagination in her reflections upon her experience.
Karczag describes ‘emergent worlds’ and a ‘physical delight’; a wonderful description of dance as an imaginative and creative ludic activity, which brings together the possible and the actual into one sphere of being: a merging of the psychic and the objective domains. However, what’s striking about Karczag’s description of what she does, is the implied attitude of the performer during these periods of time. There seems to be a deliberate attitude adopted by the performer in their work, which invites in play. When action is imbued and therefore transformed by this attitude, it becomes played – the attitude of approach is playful and colours everything, like the sunshine from my evening walk. So it seems that the creativity and activated imagination of the individual engaged in play is an essential part of that which makes the activity itself (whatever it is) playful.
Playfulness appears to be a ‘mode of doing’ which must be entered into willingly by the player – it’s a common complaint of artists across disciplines that creativity cannot be demanded, or produced ‘on tap’ – it’s a voluntary state of being into which one enters voluntarily. There’s an element of freedom from the norm in this luxurious space which allows us to move away from the everyday and step into what I’ve touched upon in previous entries here as a liminal space. Conversely, to be creative to order feels a lot like working. I think working play is wholly different from the creative play of a player playing, because working play then becomes work. I always think of this when I accidentally see professional football on the TV (It’s always by accident as I’m channel hopping on the way to somewhere else – I’m not a fan…). Professional football is, to me, just watching people do work. I see teams playing tactically, players playing for the match win bonus, for the accolade, material and otherwise, and I see a game plan unfold driven by league tables and match results. Essentially, I see the deployment of considerable skill and energy in pursuit of extrinsic goals. Very rarely (fingers on one hand time) have I seen the players and the manager forget all the extrinsic motivations and become so absorbed, so engulfed, so drawn in to the game that it ceases to be work. On the rare occasions when this workfulness disappears, the players have room to play, and from a genuine position of loving the act of doing and being absorbed in this, enter a state of playfulness. At the other end of the sporting skills spectrum, I’ve had the fortune to watch several of my friend’s young children play in their Saturday league football matches. These matches, largely bereft of skill, finesse, tactical playing, or more often than not, anything resembling concerted team coordination, are riveting. Every player is totally wrapped in the action, playing with all their might, heart on sleeve. Totally absorbed, totally playful.
In a different but related vein, and thinking about my own discipline background, theatre creates the beautifully paradoxical situation at the heart of systematic playfulness. This is the situation whereby the performer is asked to enter willingly into the game of performance at the same time every night. Whether the player enters playfully into the game or not is part of the perceived difference between a performance that flows and one that does not – work and play again…We’ve all seen electrifying performances and also ones that are just…. flat. The creativity of the performer will engage when they allow themselves to be taken and actually be played themselves by the game, playing it as if for the very first time, in order to uncover, in Viola Spolin’s words ‘personal freedom when we are faced with a reality and see it, explore it and act accordingly. In this reality the bits and pieces of ourselves function as an organic whole. It is the time of discovery, of experiencing of creative vision’ (Spolin 1983: 4). Similarly to Spolin, another performer, Kirstie Simson, in reflecting upon her attitude in performance, explains aspects of playfulness:
‘It’s about honesty. The work is in opening to what is genuine. I try to create an open space that lets people in. The big challenge is in letting myself be who I am. It is very scary to go out there,physically go out there, letting go of everything that fixes. So that is my work, to create an atmosphere of open-ness, so the audience and I can trust the moment of play that is happening.’
D.W. Winnicott (1971) describes this creative playful state of being as a ‘colouring of the whole attitude’ towards actuality. So it seems that the attitude of playfulness and the act of creation is an imaginative sublimation of reality. We are able to see and experience our environment, whatever that might be – an idea, a landscape, a sculpture, a football game, a theatre piece – as new, recreating it as fit for the playing. The activity of make-believe involves a psychic re-appropriation of one’s surroundings in order to create a state of being that is intrinsically motivated – is driven by worth in and of itself. So, using an example of make-believe, or theatre, the player stands on the upturned bucket as a runaway marooned on an island. This ludic act is fun, through and through.
It’s this playfulness, this intrinsic sense of fun that we need find within our endeavours at Salford as we co-create the implementation of our new strategy and build the exciting strategic priority of our Industrial Collaboration Zones. As has been said before, the differentiation is in the how, as much as the what…
A little longer blog than usual, but that’s what a good dose of sunshine does.
See you next week.