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.
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.