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Be creative






 

If you want to be creative, you must practice the following exercise: stand over an absorbent surface, drink a liter or two of water, and then urinate making designs with the traces the water leaves. It is very important to remember that in order to be creative, we must allow the dirty child to exist within ourselves. In excretion, there cannot be limits. I became very good friends with the surrealist painter Leonora Carrington, who had been Max Ernst’s partner. I met her in Mexico. She told me that she had also been Bunuel’s lover but that he had suddenly abandoned her. So one day when she had her period, she used the blood to make handprints all over his apartment. It was her creative reaction, a psychomagic act in which she used the menstrual blood as an element of transformation. I have prescribed a lot of psychomagic acts like this one. In the magic of love, menstrual blood is very useful. Excretions, in general, are used in all kinds of spells. Magic functions, a lot of times, with excretions: the dribbles of toads, snakes, spiders... All that we consider personal, like excretion, is used creatively.

 

If you want to be prolific, you cannot have any sexual limits, like what happened with the first great pioneer in this, the Marquis de Sade. This is why surrealism adopted him: because he could imagine all sorts of sexual relations. In his 120 Days of Sodom, Sade proves to be like a scientist investigating all the possibilities of sex 'without limits. You can go from cannibalism to sadistic crime, to incest—try anything. To be able to wake up the creativity, you must have a sexual imagination free of all morality, free of all religious imagery. You must free yourself. An artist needs to be able to imagine the greatest aberrations. We need to develop all the possibilities in our minds.

 

When someone has an imagination that is out of balance, he can assassinate a million Jewish people, like what happened with Hitler, or make an atomic bomb explode. In these cases, people are controlled by the dark side that lives inside us.

One of the most insurmountable guards that keeps watch over us is the superego. Having been molded by our parents, it permanently tells us: “This you do, this you do not do, this or that is prohibited/' You must incorporate the superego, dominate it, and destroy it.

 

A creative being cannot have any emotional limits. This means that we have to be conscious of the fact that we can kill or betray, be greedy, conceited, avaricious, or quick-tempered... Emotionally I can and should imagine everything in me. I can be a saint, or I can be perhaps the best benefactor of humanity, while at the same time I can be the kind of person who poisons the water supply to eliminate life. In my emotional imagery, I must break all the limitations, defeat them.

 

We have now seen aspects that refer to creativity and to the mind. The first thing I must defeat is the empire of words. If I am drowning in words, I cannot be creative. This is what I have done internally: I have visualized all of the degeneracy of the world. I am not a degenerate, but when I am creating something, I must have all the elements at my disposal. When I see a person, I eliminate any limitations. That way, the person can tell me what is wrong, and it is not going to surprise me. One of the biggest stumbling blocks in therapeutic creativity is surprise. A therapist cannot be surprised; she must be prepared to hear anything. Nothing will ever surprise her because she has imagined everything. Now, wonderment is something very distinct from surprise.

 

I have said that words are the first limiting factor—the most essential—in creating our prisons. It is generally true in our society that “I am what I say.” This idea still persists, in spite of the fact that Freud, Lacan, and others, following surrealism, smashed the idea that one is what one says. Yet we tell ourselves things all day long. “Dimwitted” friendships involve meeting up to tell things, not do things. We tell ourselves things clucking like chickens. We educate ourselves by talking, not by doing tilings. This is the reason for the saying, “There is a lot of distance between talking and doing.” We spend our lives saying, “But you told me” or “Take back what you said, immediately.” It is very childish; it is the childishness of verbal education, where only words mean anything. And attempting to be creative in this state is useless. A world where there are only words is one where there is no creativity. Words become hysterical when the objective is the words themselves. Creativity grows outside of words. When the poet works essentially with words, then they explode. They are scattered and broken.

 

 


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