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It is easy to let the hours linger by philosophizing about creativity. But for an artist who wishes to create rather than simply be creative, talk is simply talk. What we want is material.

It is very difficult to find style. One can't simply say "Today I am going to figure out my style." Style develops through the years of work, usually without provocation. Although once in a while there are style choices to be made, like always wearing black spandex or always working with chrome etc., I think that style can be looked upon as a synonym for personality. Only through gradual modification can any lasting change be noticed. One develops style through one's personality and vice versa.

A performance style can grow out of a performance personality as well. Luckily for all of us, this is theater, and we are allowed to act on stage. Just because you are a computer dweeb in real life doesn't mean that you have to be one in your show. On the contrary, theater allows the performer to change personality and adopt style changes at will. Hey, it's acting.

If you want a unique style, build one from a unique personality. Since most of us are basically boring people in the real world, make up an interesting personality on stage. If you build a style based on this hyper-personality, hey! you've got an original act! (i.e.. $$$$) Go ahead and use all the old juggling tricks and props you want. Placed in a new context, it will all be different.

Judging from the tone of the posts so far, I would guess that folk are interested in writing original juggling routines and choreography. This relates to a few seconds of that unnecessarily pompous "workshop" than Mr. M gave in Montreal. If you were listening VERY closely, Mr. M mumbled something about what he calls "THE Process" and which I call "A process." One's process develops in tandem with style.

People who talk "process" are really simply talking about the creative act itself. It is an artistic way of describing a formula for writing. Rather than looking at individual tricks or props, process dictates that you look at the way that you look at tricks or props. By changing your point of view, you change the finished product. (I consider this "point of view" to be synonymous with "premise").

M.r M's premise for the crystal ball routine involves things like:

1. I will never close my hand around the ball.

2. The ball is a dying friend.

3. The ball is my daughter.

(one of 2. or 3. - it wasn't clear which...)

4. The ball is the focus of the piece.

These are the things that he called "rules." One uses rules (premise) to help guide the creative process. Without guidelines, the possibilities are endless and subsequently daunting. (For the computer dweebs: it is important to restrict the domain before you can express an automata. * Wow, am I embarrassed! *)

It is important to realize the distinction between the process that creates material and the material itself. If you are having troubles finding original stuff, maybe it is because you are not using an original premise. If you play by the same rules as everyone else you end up playing the same game. If you want to stand out - play a different game altogether.

- Steve