Director Diane Paulus delivers a crash course in team dynamics, how to nurture creativity, and the importance of obsession in a good leader.
As she explains the architecture of her creative process, Diane Paulus provides a crash course in leadership and team dynamics. Paulus knows collaboration well: she’s the artistic director of the American Repertory Theater (A.R.T.) at Harvard University, and has directed numerous Broadway productions. Teams work to their full potential when each member has genuine input and space to be creative – the director has to steer the project, but nothing squashes motivation like micro-management. Directing a project – even beyond the theatre world – requires you to remove yourself from what the project ideally will be, and ask tough questions while it’s under construction to keep it on track: like ‘Why should an audience care?’ and ‘Why are we doing this?’. If you’re not satisfied with your answers, your audience (or product user) won’t be either. "In the arts… there can be a lot of blaming the audience for the lack of engagement," Paulus says. "I'm a producer and an artist, I actually have a chance to take a little responsibility for maybe why the audience has left the building." There is a bounty of wisdom to be gleaned from Paulus’ experiences in the theatre: never stop learning and adapting your product, don’t just see what you want to see – find flaws, know that too much hierarchy will make your team stale, and be obsessed – positive mania is infectious in a team. Find more about Diane Paulus at www.dianepaulus.net.
The happiest moments of our lives are when we lose ourselves – in art, in exercise, in love. According to Harvard's Diane Paulus, being able to 'play' and engage in something outside of ourselves is a valuable respite from our egos.
It takes a brave adult to play. It’s a kind of subordination, a lessening of your status, a silly exhibition of the child you once were. And that, says Diane Paulus, is why it’s so essential.
Paulus is the Artistic Director of the American Repertory Theater (ART) at Harvard University, so a good percentage of her day is spent encouraging and directing people to appreciate the art of make-believe. What she realized in doing so, and what she’s experienced in her own life, is that losing yourself in something frees you from your ego.
Whether you go for a jog, or paint something, or have sex, or watch a film so absorbing you forget to even eat one kernel of your popcorn – that's a respite from your cerebral, inward-focused self, and that respite is crucial in an age that’s obsessed with the ‘me’, with celebrity, and that's plagued by status anxiety. Play is the great equalizer, as Paulus says: "For me it's come when I've been part of a group. And I think it's because I did theater as a kid and I always found, that moment when you could be with a group of people, and it didn't matter, you didn't matter anymore. And of course you matter because you're bringing all of your heart and your soul and your mind to it, but you're involved in something larger than yourself."
Paulus presents the elegant version of Tyler Durden’s message: "you are not a beautiful and unique snowflake", a sentiment that urges us to live beyond our own limits, to not be caught up in the trapping of our ego, which insists that we are special, and is angry when we’re not treated as such.
Theatre is the way Paulus loses herself; so go out and see a show. Climb a mountain. Read a book. Have sex. Be an audience to something other than yourself. Don’t be afraid to play.Find more about Diane Paulus at www.dianepaulus.net
Theaters today seem like hallowed ground, says Harvard's Diane Paulus, but that's not their natural state. Once, they had the same atmosphere as sport: visceral, alive, and indebted to its audience. How can we get back there?
Diane Paulus does for theatre what Susan Orlean did for orchids; she takes a subject that many think of as niche, uninteresting or eccentric and performs CPR on it through sheer passion and description.
Paulus is the Artistic Director of the American Repertory Theater (ART) at Harvard University, and is the art form's greatest ambassador, but she isn’t so embedded in the world of theatre that she’s blind to its public perception. She can understand the knee-jerk allergy some people have to it – a hushed room with the house lights down, an invisible audience, and at times a stiff atmosphere. She knows what it’s like to fall asleep in a production better than anyone.
The fact is that theaters aren’t meant to be hallowed ground, and Paulus puts that standard down to the shift towards naturalism that occurred in the early 20th century. The old vaudeville houses were interactive; in gilded opera theatres, the lights used to stay up, the crowd as much of a spectacle and dramatic social circus as the one that was happening on stage.
Paulus likens it to sport; not all games or matches share one quiet, obedient audience. In golf, silence is customary, but in basketball, the crowd brings the energy and participates actively, even swaying the results of the game through their encouragement or distractions. Theater used to be that way too, with a spectrum of audience behaviors to match the tone of each production. The theater experience can rise out of its stagnant reputation, and for Paulus that means focusing on a theater director’s greatest collaborator: the audience.Find more about Diane Paulus at www.dianepaulus.net