Sublime

Jaak Panksepp concluded something similar in Affective Neuroscience: The Foundations of Human and Animal Emotions, where he wrote, “One thing is certain, during play, animals are especially prone to behave in flexible and creative ways.”

In his wonderful book, Anything You Want, Derek Sivers shares the following story of learning to sing from a great coach named Warren Senders: For each lesson, I’d bring in one song I was trying to improve. First, I’d sing it for him as written. Then he’d say, “OK—now do it up an octave.” “Uh... up an octave? But I can’t sing that high!” “I don’t

In improv, the entire cast is at risk and needs to work together to continue a conversation, to put off the finality of a scene until the last possible moment. Bill encouraged ensembles and

Not every storyteller agrees with my strategies, but every student who has followed my instruction has become an effective, entertaining, successful storyteller.

Gallimore and Tharp recorded and coded 2,326 discrete acts of teaching. Of them, a mere 6.9 percent were compliments. Only 6.6 percent were expressions of displeasure. But 75 percent were pure information: what to do, how to do it, when to intensify an activity. One of Wooden's most frequent forms of teaching was a three-part instruction where he

How do you get ideas for stories or improv? There are two states we create from: the clown and the editor. The clown allows you to experiment and generate ideas without a filter. The editor comes in later to find the gems and do cleanup. But you can’t be the clown and the editor at the same time.

Winnicott would occasionally make psychoanalysis sound curiously like entertainment.

The informal leader of this whole crew, of course, was Sigmund Freud.