The Brilliance in a Mistake

“You cannot create results, you can only create conditions in which something might happen.” -Anne Bogart

As managers and directors we can focus on developing an environment that instills fear of  error, with constant correction, or we can create an environment where mistakes are not necessarily mistakes, but sacred expeditions.

The funny thing about a mistake is that it is a judgement. What is the reference point for deciding whether something is a mistake? Its really a matter of opinion. It is your censored, logical brain saying that because something is not the norm, it is wrong. What if we challenged ourselves to see “mistakes” as opportunities? What if they aren’t mistakes, but added value.

3M’s entire business changed when they invented the post-it note. You know how it was invented? By mistake. They were trying to develop a certain type of glue for another product and somewhere along the way they made a mistake and produced this glue that could stick, but then be removed and re-stuck. If someone had not had the hindsight to see this “mistake” as a brilliant new invention, I wonder where 3M would be today.

The same goes for the rehearsal room and our artistic pursuits endeavoured in solitude. We have to make sure we are not always nourishing logic, but keeping it in check and allowing ourselves to enter the realm of the unknown. This is how creativity is bread and fostered. As Seth Godin would put it, as artists and business people we have to practice telling our lizard brain to shut up! This is the part of our brain that wants to survive. To see things linear, but if we stay here, then there will never be unique or original content within our work(s) or product(s).

Even the artist experiences blocks and business people slowly lose their creativity over time because they are constantly trying to manage the bottom line, improve quality and decrease losses. How can you foster creativity within in your own brain, let alone an organizations culture if you only ever feed the reasoning side of your brain as a leader? How can you begin to rekindle your artist brain? So you can remain open to new mistakes, I mean innovations that probably take place around you daily.

Julie Cameron, the author of The Artists Way, suggests something called morning pages. They are not for writers exclusively. It is an exercise for anyone looking to rekindle their artistic brain. Get up every morning and write three pages without stopping. On these pages you write ANYTHING that comes into your head, even if it is “I have nothing to write about, I’m tired etc.” Often the pages will become repetitive and filled with your fears, anxieties and everything your censor has to say. Over time, done regularly, your inner artist will begin to wake up again. She suggests not letting anyone read your morning pages and not reading them yourself for at least the first 8 weeks. In general I recommend The Artist Way for anyone looking to rediscover or rekindle their creative self.

Providing Direction 101

 

 

 

 

 

 

 

It’s so true! For Directors, CEO’s and managers. The more you try to control, perfect and achieve on your own, the poorer the outcome and the more unhappy your actors and employees will be. You are not better, more brilliant or above everyone else and you are not the only person with talent and ideas. It is a lie that the more information you hored the more power you will gain and maintain. Dont wait for the people you hire or cast to impress you, set them up for success. Unlock their potential!

 

 

 

 

 

 

 

Often (especially the artsy types) think that they will get the most out of their creative talent if they just give them free reign, tell them the sky is the limit, but vague will always be vague. Often vaque direction paralyzes the artist. This is why improvisors ask for items from the audience and play improv games that provide objectives and structure. There needs to be genesis for ideas. This is why a creative teams designs are often only as good as the briefing originally given.

 

 

 

 

 

 

 

So, not providing any direction is paralyzing, but a “managed” artist or entrepreneur feels paralyzed also. So like most things the game is a balancing act. It is the difference between being the wind in the actor/employees sails and putting them on a leash. If an artists feels dependence and or fear of management, your only making your job harder. If you catch yourself thinking, “What! does this person really need me to hold their hand…” The answer is 90% of the time, no they dont. There is something wrong with the way they are being managed. So instead of feeling frustrated and focusing on the incompetence of the other person. Re-evaluate how you are leading them and communicating with them, that instills in them a feeling of over dependence and/or fear. What do they need from you, they are not getting to feel confident and independent. The answer will probably lead you right back to where we started…

 

 

 

 

 

 

 

 

 

The Business Model

“Exchanging money for art is a way to complete my artistic life, not damage it.”          Scott Walter’s

A business model is the framework set up, that results in your company making money. Apple Inc. is the first company that comes to mind, when I think about industry changing business models. Apple Inc. changed the music industry in numerous ways. How did they do it? By eliminating a middle man, eliminating the need for shelves, inventory and as a result delivered music to libraries with more affordability and convenience than ever before.

What is the business model for the theatre? Weeks of overhead (wages, sets, costumes, tech, publicity, heat, water) and then ticket sales begin to be made, prior to and during the run of the show. It is at this later junction in the process that the exchange of money takes place. How sustainable is this business model? Issue #1 is how much money has to be spend before cash even begins flowing the other way. Issue #2 is that, on a good day, ticket sales (on average) only equate to 30-40% of a companies revenue. Leaving theatre companies with 60-70% of revenue they have to raise through fundraising, borrowing/sponsorship and government grants.

I am interested in overhauling the business model for the theatre! The big question is whether or not the model needs to be drastically changed or just the focus? On one hand I think of Broadway, Stratford, Cirque Du Soleil and my faith is restored in the traditional model, focused on ticket sales. Then I think of all the hundreds of theatre companies scraping by and holding their breath to see whether they are going to get the Government Grant they need to survive the next season and things begin appearing grim again.

The business model discussion in this blog will be a continuous one. One discussion I do want to share in regards to the theatre business model (although a few years old) can be found here.

The author makes some valuable points about offering additional value to your ticket holders and members, that is already available for you to offer. Such as the process itself and he makes an important statement regarding relationship: “the surface area of your company determines the depth of its relationships.” Depth of relationship becomes paramount to making money in an art form that does not even exist without the audience.

Find Your Niche & Ignore Those Outside Of It!

“Focusing obsessively on one niche, one feature and one market is almost always a better idea than trying to satisfy everyone.”  Seth Godin

Actors are the worst for wanting to appeal to the masses! Instead of having a more limited view or plan for their future in acting (at least initially), they will attempt to present themselves in a way that appeals to a vast array of characters and proceed to audition for everything and anything, taking anything they can get and exposing themselves to an unnecessary excess of rejection.

A lot of businesses fall into the same trap of trying to please everyone and wanting to appeal to the masses. In order to do this, they sometimes ignore the original business model that brought them success in the first place. Which may have been “the customer experience” and instead of continuing to focus on what they do best, they set goals to whore out their logo, come out with even more products and more and more store locations!

Eventually no one wants to cast you or buy your product because you have lost (or maybe you still haven’t found) what set you apart in the first place. In theatre or film we would call this your type. In business it is your core competency. What do you do best? I know, I know nobody puts you in a box or in a corner, but if you keep resisting this, than you literally will be in a corner somewhere, not on a stage. Every man and his dog wants to go for the lead roles and then hopefully, at least get skirted to a supporting role if they can’t have the lead. What if you did the opposite? What if you changed something about your physical appearance? Focused in on something unique about your acting, that is not so generic?

For some reason, especially for the artist, this sounds hurtful…am I right? Actually it’s less hurtful! Why should we listen to the voices of those that aren’t even going to be buying our product? Why should we even expose ourselves to even more unneeded criticism? Listen to those that are already a fan of your work or your product! The people who have already purchased and are happy. The directors and fellow cast members that know you best. If you ask, they will be honest with you from a place of caring and from a world where you have already succeeded. Allow your believers to help you find your niche and ignore the un-believers until they become believers. It seems obvious, but success breeds more success. People don’t often live this way. Water the plants that are already starting to grow, don’t try to plant a new crop, ignoring the ones that are budding.

 

 

Are Funny People More Successful?

“A sense of humor… is needed armor. Joy in one’s heart and some laughter on one’s lips is a sign that the person down deep has a pretty good grasp of life.” Hugh Sidey

Forbes, a couple months ago released an article addressing the use of humor in the work place. See Article. From personal experience, sometimes I have filtered myself from using too much humor in the workplace or during an audition for fear of being taken less seriously or professionally. If I were to be honest, tastefully lightening the mood during a meeting or laughing to draw attention to the humor of an outcome has only ever served me well.

Michael Shurtleff mentions 12 guideposts in his book Auditioning. Guidepost 4 is Humor: “It’s a way of coping with the absurdities or sorrows of living. It connects you with your partner, for example, to tease, to put at ease, to share a laugh with, to deflect pain. An appreciation about the irony of life.” This guidepost is the very reason why my fear, is actually a false fear because in using humor we are not being disrespectful of others or circumstances, we are actually “connecting with people and building relationships, which creates opportunities that other people may not have,” as Sultanoff states in the Forbes article.

If humor allows us to take our mistakes and stressful tasks less seriously, while at the same time connecting us, is that not going to strengthen collaboration and create a company culture people want to be a part of? If your employees want to be a part of something, then your customers are also going to want to take part.

We know in acting, that sometimes if we cannot cultivate an emotion, instead of trying to force it we can simply perform actions and objectives that with bring us to the place we need to be in a scene. I believe the same applies in an audition or interview. Intentionally, physically laugh at yourself or tastefully joke about something and all of sudden performing the action, cultivates a more light hearted feeling towards the situation, connects you to your auditors/interviewers and most importantly gives them something to remember you by.

Warning: With everything in life the use of humor is not black and white. Developing the skill and know how of what is too much, takes time and the art of the “humorous professional” comes more naturally to some. Just because it is a comedic role or improv audition, doesn’t mean they are still not looking for professionalism. Start small and think tasteful. Some of the examples given in the Forbes article are great references.