有人说“创意的东西是好的” 又有人说“那到未必” 那你是怎么理解的呢_快来看看吧

有人说“创意的东西是好的” 又有人说“那到未必” 那你是怎么理解的呢_快来看看吧

· “创意”这个东东我们该怎么去理解它呢,和小编一起看看吧 ·

Lai Shengchuan’s representative plays “secret love of Peach Blossom Land” and “dream like a dream”. The former has been playing well since its public performance in 1986. Lin Qingxia, Jin Shijie, Sun Li and Huang Lei have starred in the Taiwan version and the mainland version of Yun Zhifan and jiangbinliu respectively. Lai Shengchuan University majored in English. He has been engaged in stage drama and film for more than 30 years. He has a wide range of hobbies and knowledge. He has studied music, Buddhism and architecture. He summarizes his creative experience and insights. We can’t copy teacher Lai’s classic works, but we can learn the underlying logic of creativity!

创意真的能学吗?

赖声川代表作话剧《暗恋桃花源》、《如梦之梦》,前者自1986公演以来常演不衰,林青霞、金士杰、孙莉和黄磊,分别主演过台湾版和大陆版的云之凡与江滨柳。赖声川大学主修英语,硕博改读戏剧,从事舞台剧、电影三十余年,爱好广泛,学识庞杂,对音乐、佛学、建筑都有研究,他将自己的创作经验和感悟加以总结。赖老师的经典作品我们不能复制,但是创意的底层逻辑我们可以学习!

我自己做了20多年编剧、导演方面的老师,同时做了30多年的编剧和导演,经历过太多创意的过程,那些创意并不是我天生就会的,而是学来的。当我静下来去想,那些创意过程中的突破点是什么时候发生的,那些灵感是如何发生以及如何执行的,慢慢我就发现创意其实是有脉络可寻的,没那么神秘。

如果有人说创意不能学,那是因为他不够了解创意过程中到底发生了什么。

既然创意能学,那么创意的灵感来自哪儿呢?你已有的积累。

Many people feel that inspiration comes from the outside. The so-called nine Muses of the Greeks, even like Puccini, said that his opera Madama Butterfly was dictated to him by God, and God held his handwritten score. All these statements make us feel that creativity can only be accomplished through external forces.

But my own experience is not quite the same as these statements. Whether it’s “secret love in Peach Blossom Land” or perhaps more interesting 8-hour “dream like a dream”, the contents of these inspirations are not from the outside and are not unfamiliar to me. Like the opening play “a grain of sand on that distant planet” in the theater, you may not believe it. That’s what I dreamt about.

很多人觉得,灵感来自外部。希腊人所谓的九个缪斯,甚至像普契尼说他创作的歌剧Madama Butterfly (《蝴蝶夫人》)是上帝口述给他的,上帝握着他的手写出的谱子。这些说法都让我们形成一种感觉,即认为创意要通过外来的力量才能完成。

但我自己的经验和这些说法不太一样。不管是《暗恋桃花源》,还是可能更有趣的长达8小时的《如梦之梦》,这些灵感的内容都不是来自外部,不是我陌生的东西。像上剧场的开幕戏《在那遥远的星球,一粒沙》,说出来你们可能都不相信,那是我做梦梦到的。

但这个梦也不是一般的梦,我们说创意人往往是在限制中工作,有目标本身给你的限制。比如我必须写一个戏,这个戏又有很多条件,这些条件最后逼着我在梦中找到一个解法,找到后我赶紧半夜两点钟就起床把它写下来,写完再回去睡,不然就忘了。

我要讲的是,所谓灵感降临,就是瞥见已存在于你脑中的事物,或组合已存在于你脑中事物的刹那。

这里的重点是:已存在于脑中。我所有的灵感都不是我陌生的东西,都来自我已有的积累。也许你会想到,以前老师说多读点好书,多经历点事儿,就是为这个。而积累,是我们只要活在这个世界上就无法停止的一件事。

All your accumulation is your filing cabinet.

Why do you think of something at a certain moment? Because it’s in your filing cabinet. Memory is like this, you smell a smell at a certain moment, this smell is your childhood smell, it will recall a lot of childhood memories in the filing cabinet.

The same is true of creativity. What you have accumulated in the archives, take out a few and put them together, that is, creativity.

In that case, have you ever thought about what we have accumulated in the brain? Is there a mechanism that allows us to save things that are good for creativity and delete those that don’t work for us?

yes.

I call this mechanism the creative pyramid. If you want to be a creative person, you must first understand what is in your mind, then you may have the corresponding creativity.

你所有的积累,就是你的档案柜。

为什么你会在某一刻想到某件事?因为这件事存在你的档案柜里。回忆就是这样,你在某一刻闻到一个味道,这味道是你童年闻过的,它会勾起档案柜里很多童年记忆。

创意也是一样。你积累的档案里有什么,拿出几个来,并在一起,就是创意了。

既然如此,那你有没有想过,我们积累到脑内的一切到底是什么?有没有一种机制能让我们存一些有利于创意的东西,删掉那些对我们没用的?

有。

我把这个机制叫做创意金字塔。如果你想做一个有创意的人,你就一定要先去了解你脑子里装的是什么,你才可能有相应的创意。

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