Creative State

At the turn of the twenty-first century, with the amount of money emigrants sent home soaring to new highs, governments around the world began searching for ways to capitalize on emigration for economic growth, and they looked to nations that already had policies in place. Morocco and Mexico featured prominently as sources of "best practices" in this area, with tailor-made financial instruments that brought migrants into the banking system, captured remittances for national development projects, fostered partnerships with emigrants for infrastructure design and provision, hosted transnational forums for development planning, and emboldened cross-border political lobbies. In Creative State, Natasha Iskander chronicles how these innovative policies emerged and evolved over forty years. She reveals that the Moroccan and Mexican policies emulated as models of excellence were not initially devised to link emigration to development, but rather were deployed to strengthen both governments' domestic hold on power. The process of policy design, however, was so iterative and improvisational that neither the governments nor their migrant constituencies ever predicted, much less intended, the ways the new initiatives would gradually but fundamentally redefine nationhood, development, and citizenship. Morocco's and Mexico's experiences with migration and development policy demonstrate that far from being a prosaic institution resistant to change, the state can be a remarkable site of creativity, an essential but often overlooked component of good governance.

This book rediscovers a spiritual way of preparing the actor towards experiencing that ineffable artistic creativity defined by Konstantin Stanislavski as the creative state. Filtered through the lens of his unaddressed Christian Orthodox background, as well as his yogic or Hindu interest, the practical work followed the odyssey of the artist, from being oneself towards becoming the character, being structured in three major horizontal stages and developed on another three vertical, interconnected levels. Throughout the book, Gabriela Curpan aims to question both the cartesian approach to acting and the realist-psychological line, generally viewed as the only features of Stanislavski’s work. This book will be of great interest to theatre and performance academics as well as practitioners in the fields of acting and directing.

This is a provocative collection exploring the different types of violence and how they relate to one another, examined through the integration of several disciplines, including forensic psychotherapy, psychiatry, sociology, psychosocial studies and political science. By examining the 'violent states' of mind behind specific forms of violence and the social and societal contexts in which an individual act of human violence takes place, the contributors reveal the dynamic forces and reasoning behind specific forms of violence including structural violence, and conceptualise the societal structures themselves as 'violent states'. Other research often stops short at examining the causes and risk factors for violence, without considering the opposite states that may not only mitigate, but allow for a different unfolding of individual and societal evolution. As a potential antidote to violence, the authors prescribe an understanding of these 'creative states' with their psychological origins, and their importance in human behaviour and meaning-seeking. Making a call to move beyond merely mitigating violence to the opposite direction of fostering creative potential, this book is foundational in its capacity to cultivate social consciousness and effect positive change in areas of governance, policy-making, and collective responsibility. Volume 2: Human Violence and Creative Humanity explores violent states of mind, behavioural or subjective, interpersonal violence (including self-injury) and the fine distinctions between violent and creative states of mind.

What is it like to be an artist? Drawing on interviews with professional artists, this book takes the reader inside the creative process. The author, an artist and a psychotherapist, uses psychoanalytic theory to shed light on fundamental questions such as the origin of new ideas and the artist’s state of mind while working. Based on interviews with 33 professional artists, who reflect on their experiences of creating new works of art, as well as her own artistic practice, Patricia Townsend traces the trajectory of the creative process from the artist’s first inkling or ‘pre-sense’, through to the completion of a work, and its release to the public. Drawing on psychoanalytic theory, particularly the work of Donald Winnicott, Marion Milner and Christopher Bollas, the book presents the artist’s process as a series of interconnected and overlapping stages, in which there is a movement between the artist’s inner world, the outer world of shared ‘reality’, and the spaces in-between. Creative States of Mind: Psychoanalysis and the Artist’s Process fills an important gap in the psychoanalytic theory of art by offering an account of the full trajectory of the artist’s process based on the evidence of artists themselves. It will be useful to artists who want to understand more about their own processes, to psychoanalysts and psychotherapists in their clinical work, and to anyone who studies the creative process.

At the turn of the twenty-first century, with the amount of money emigrants sent home soaring to new highs, governments around the world began searching for ways to capitalize on emigration for economic growth, and they looked to nations that already had policies in place. Morocco and Mexico featured prominently as sources of "best practices" in this area, with tailor-made financial instruments that brought migrants into the banking system, captured remittances for national development projects, fostered partnerships with emigrants for infrastructure design and provision, hosted transnational forums for development planning, and emboldened cross-border political lobbies. In Creative State, Natasha Iskander chronicles how these innovative policies emerged and evolved over forty years. She reveals that the Moroccan and Mexican policies emulated as models of excellence were not initially devised to link emigration to development, but rather were deployed to strengthen both governments' domestic hold on power. The process of policy design, however, was so iterative and improvisational that neither the governments nor their migrant constituencies ever predicted, much less intended, the ways the new initiatives would gradually but fundamentally redefine nationhood, development, and citizenship. Morocco's and Mexico's experiences with migration and development policy demonstrate that far from being a prosaic institution resistant to change, the state can be a remarkable site of creativity, an essential but often overlooked component of good governance.

As one of the most well-known names in theatre history, Konstantin Stanislavsky’s teachings on actor training have endured throughout the decades, influencing scholars and practitioners even in the present day. This second edition of Konstantin Stanislavsky combines: an overview of Stanislavsky’s life and work, including recent discoveries an assessment of his widely read text, An Actor Prepares (1936) with comparisons to Benedetti’s 2008 translation, An Actor’s Work detailed commentary of the key 1898 production of The Seagull an indispensable set of practical exercises for actors, teachers and directors. As a first step towards critical understanding, and as an initial ex- ploration before going on to further, primary research, Routledge Performance Practitioners are unbeatable value for today’s student.

A fresh approach to managing organizational change by looking at it as complex, dynamic and messy as opposed to a series of neat, linear stages and processes leading to success. Key to the approach is the idea that change, creativity and innovation all overlap and interconnect rather than being three separate areas of study and that managing the three together is central to organizations having the competitive edge in developing new technologies and techniques, products and services. The book continues to offer practical guidelines as well as a theoretical understanding of change, creativity and innovation. It delivers an equal balance of critical perspectives and sound ideas for organizational change and development and presents the idea that change can be proactive, driven by creativity and innovation. The new edition includes additional change management content including learning, personal change, managing the self, employability, developments in conventional Organizational Development and new emergent forms including appreciative inquiry. Along with a series of rich international case studies, including TNT Australia, Amazon, Leeds Rhinos, Jerusalem Paints, Alpha Pro Pump and KPMG. It is supported by a range of learning and revision aids including reflective exercises, review and discussion questions and hands-on research tasks. All of which help students to reflect on the material covered and provide a source for more open group discussion and debate. A companion website accompanies the book, with additional material including PowerPoint slides for lecturers and video links and access to SAGE journal articles for Students. Suitable for upper-level undergraduates and postgraduate students.

Creativity and the Poetic Mind mingles the voices of well-known writers such as Nikki Giovanni, Donald Hall, John Koethe, Marge Piercy, and Robert Pinsky with newer voices, and includes engaging excerpts from interviews with thirty-eight American poets. Within a sustained argument about creative states of mind, this book innovatively presents and explores the technique of «going to the place» as more reliable in writing poetry than waiting for «inspiration». It explains why poets frequently believe that talking about their own poetry may damage their creativity and why, for centuries, inspiration has seemed to come from somewhere beyond the poet. In addition, it discusses the practicality of poets' thinking that «being creative» and «writing poetry» are two separate skills: inspiration is unreliable, but experienced poets create daily.