Free Play: Improvisation in Life and Art"There is an old Sanskrit word, lîla, which means play. Richer than our word, it means divine play, the play of creation, destruction, and re-creation, the folding and unfolding of the cosmos. Lîla, free and deep, is both the delight and enjoyment of this moment, and the play of God. It also means love. Lîla may be the simplest thing there is--spontaneous, childish, disarming. But as we grow and experience the complexities of life, it may also be the most difficult and hard-won achievement imaginable, and its coming to fruition is a kind of homecoming to our true selves."--Introduction, page 1. |
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Page 64
... ment can be a great disturbance ! I had to learn to play so softly that my music could barely be heard a few inches away , and yet play with a tone that was interesting enough to keep me playing . I learned to barely tickle the strings ...
... ment can be a great disturbance ! I had to learn to play so softly that my music could barely be heard a few inches away , and yet play with a tone that was interesting enough to keep me playing . I learned to barely tickle the strings ...
Page 166
... ment or with our work is much more like falling in love with a person , in that we experience the rapture and delight of the discovery , but then we are saddled with the effort of fulfill- ment , with love's labors and the hard lessons ...
... ment or with our work is much more like falling in love with a person , in that we experience the rapture and delight of the discovery , but then we are saddled with the effort of fulfill- ment , with love's labors and the hard lessons ...
Page 171
... ment tempered with freedom to play . We perform innumera- ble balancing acts , dances between opposite poles , each of which is necessary for life and art to exist . We have to live right on the balance point of an equi - valence ...
... ment tempered with freedom to play . We perform innumera- ble balancing acts , dances between opposite poles , each of which is necessary for life and art to exist . We have to live right on the balance point of an equi - valence ...
Contents
A New Flute | 1 |
Inspiration and Times Flow | 17 |
The Vehicle | 25 |
Copyright | |
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activity addiction art forms artist artwork audience Bach beauty become Beethoven blocks Blue Cliff Record body breakthrough breath bricolage Carl Jung child comes composer consciousness create creation creative process dance deeper e. e. cummings energy everything experience expression fear feeling flow flute free improvisation free play Galumphing Gregory Bateson hand ideas Igor Stravinsky imagination improvisation inner inspiration instru instrument intuition invent judging spectre kind learning limits listen living look material matter means ment mind muse musician mysterious nature ourselves P. D. Q. Bach painting pattern performance person piece player poetry practice procrastination resonance rhythm rules samadhi sense Shobogenzo sound spiritual spontaneous Stéphane Grappelli string structure surprises surrender T. S. Eliot technique temenos theater thing thought tion totally tune unconscious violin voice whole William Blake writing