Creativity and the Performing Artist: Behind the Mask synthesizes and integrates research in the field of creativity and the performing arts. Within the performing arts there are multiple specific domains of expertise, with domain-specific demands. This book examines the psychological nature of creativity in the performing arts. The book is organized into five sections. Section I discusses different forms of performing arts, the domains and talents of performers, and the experience of creativity within performing artists. Section II explores the neurobiology of physiology of creativity and flow. Section III covers the developmental trajectory of performing artists, including early attachment, parenting, play theories, personality, motivation, and training. Section IV examines emotional regulation and psychopathology in performing artists. Section V closes with issues of burnout, injury, and rehabilitation in performing artists. Discusses domain specificity within the performing arts Encompasses dance, theatre, music, and comedy performance art Reviews the biology behind performance, from thinking to movement Identifies how an artist develops over time, from childhood through adult training Summarizes the effect of personality, mood, and psychopathology on performance Explores career concerns of performing artists, from injury to burn out

This book is for readers interested in the latest research on creativity in performance. The chapters cover an impressive interdisciplinary scope, and include studies of jazz, African dancing, improvisational theater, situation comedies, children's puppet plays, and Nepalese drumming. Each chapter speaks to broader themes that will be of interest to students and researchers in psychology, anthropology, communication, musicology, and performance studies.

Rapid technological change, global competition, and economic uncertainty have all contributed to organizations seeking to improve creativity and innovation. Researchers and businesses want to know what factors facilitate or inhibit creativity in a variety of organizational settings. Individual Creativity in the Workplace identifies those factors, including what motivational and cognitive factors influence individual creativity, as well as the contextual factors that impact creativity such as teams and leadership.The book takes research findings out of the lab and provides examples of these findings put to use in real world organizations. - Identifies factors facilitating or inhibiting creativity in organizational settings - Summarizes research on creativity, cognition, and motivation - Provides real world examples of these factors operating in organizations today - Highlights creative thought processes and how to encourage them - Outlines management styles and leadership to encourage creativity - Explores how to encourage individual creativity in team contexts

The essential problem in entrepreneurship is improving the performance of entrepreneurs. The most important theories will be the ones that most enable us to predict and then ultimately influence entrepreneurial performance. This book develops a new and more accurate theory of entrepreneurial performance based in entrepreneurial creativity. The field of entrepreneurship has a long tradition of expecting entrepreneurial performance to be influenced by creativity, tracing back even before the pioneering work of Joseph Schumpeter (1883 to 1950), who defined entrepreneurship as creative-destruction—creating the new by supplanting or destroying the old. Subsequently, psychologist Robert Sternberg defined creativity as broadly encompassing creative aspects of personality, motivation, intellect, thinking style and relevant knowledge. Using Sternberg’s definition of creativity, the authors reviewed the evidence directly linking entrepreneurial creativity and entrepreneurial performance, concluding that the linkage is both statistically and practically significant. In order to scientifically tie entrepreneurship to creativity the book pursues a number of major objectives: In parts one and two, the authors remind us of our scientific challenge in the light of the depressing levels of performance typically to be found in the real world of entrepreneurship and explores the limitations of the dominant paradigms driving research in the field of entrepreneurship today. In part three, they bring together existing evidence to demonstrate the predictive and explanatory powers of creativity in relation to entrepreneurship. In part four, they further explore correlations between creativity and entrepreneurial performance at the individual and macro or society, levels. In summary, the book offers a bold predictive theory linking entrepreneurial creativity to entrepreneurial performance, however neither as boldly as a definitional linkage nor as timidly as one in a hundred or so factors potentially explaining entrepreneurial performance. This result is a general scientific theory that offers a serious challenge to entrepreneurial scholars who are pursuing other means for understanding the causality of entrepreneurial performance.

Musical imagination and creativity are amongst the most abstract and complex aspects of musical behaviour, though, until recently, they have been difficult to subject to empirical enquiry. However, music psychology and some allied disciplines have now developed, both theoretically and methodologically, to the point where some of these topics are now firmly within our grasp. The study of creativity and imagination is growing rapidly in disciplines including psychology, sociology, neuroscience, and education. The inter- and multidisciplinary study of music, and developments in music psychology in particular, mean that studies of musical imagination and creativity in action are now distinctly possible 'Musical Imaginations' is a wide ranging, multidisciplinary review of the latest theory and research on musical creativity, performance and perception by some of the most eminent scholars in their respective disciplines. The topics addressed in this book include the investigation of creativity and imagination in music and emotion, composition and improvisation, performance and performance traditions, listening strategies, different musical genres and cultural belief systems, social collaboration, identity formation, and the development of psychologically-based strategies and interventions for the enhancement of performing musicians. With creativity now a topic of significant interest, this book will be valuable to all those in the fields of psychology, sociology, neuroscience, education, as well as to musicians themselves - dealing with practical as well as theoretical issues in music therapy, performance and education. The study of creativity and imagination is growing rapidly in disciplines including psychology, sociology, neuroscience, and education. The inter- and multidisciplinary study of music, and developments in music psychology in particular, mean that studies of musical imagination and creativity in action are now distinctly possible. This book undertakes a multidisciplinary review of these developments. It contains a wide range of contributions by some of the most eminent scholars in their respective disciplines, representing a comprehensive account of the state of the art of theory and research on musical creativity, performance and perception.

Howard Gardner's classic book Multiple Intelligences exploded the myth that intelligence can be measured along a single dimension. Now Lynne Levesque shows that creativity, like intelligences, exists in a variety of forms, and demonstrates that high-performance organizations need to make use of creativity in all its dimensions. It takes more than just "thinking outside the box" to build a flexible, adaptive organization that will survive competitive battles, grow and prosper, and provide the environment that attracts and keeps the best talent. On the basis of her research in personality, innovation and creativity, as well as her experience helping top executives achieve their full potential, Levesque describes eight distinct creative talents. People of each talent have a unique way of looking at challenges, collecting data and generating creative solutions. Breakthrough Creativity describes in individual chapters how each talent works, how each contributes to the creative process and how each can improve decision making, team building and strategic planning and thinking. Breakthrough Creativity brings to life the stories and rich experiences of working individuals around the world to help readers discover their own creative talents and use them to further their professional and personal lives.

Creativity: the Actor in Performance focuses on what it takes to be a creative performer. Many stage-actors succeed in rehearsals, yet under-perform where it counts—in performance. But, as actors know, performance is a thing unto itself—something is going to have to happen out there beyond anything that happened in rehearsals. This book provides actors, their teachers and directors with insights into the creativity of the actor in performance. An historical account of the emergence and development of one of the most generative concepts of our times – creativity - provides a theoretical backdrop to a critical discussion of the creativity of acting - a discussion that includes analyses of Denis Diderot, George Henry Lewes, William Archer, Konstantin Stanislavsky, Michael Chekhov, Michel Saint-Denis, Zeami and Eugenio Barba. Creativity: the actor in performance concludes by offering a detailed rationale for performance-oriented actor training, offering examples of workshop exercises (CREATICS) which focus on developing four main competencies crucial for successful and creative performances: situation awareness, audience awareness, divided consciousness and presence.