of protecting workers and their workspaces from the kinds of
fear-based tactics we described earlier.
9
Working on Your “Edge”
Securing the workspace isn’t all that is needed to get past fear
and discomfort to creative performance. The flip side of the coin
is the need for individual ensemble members to build up a capac-
ity for working on what we call the edge.
10
Learning to work on
the edge is a part of learning to achieve reliable innovation, and
it’s the manager’s job to help with this task. The theatre has
evolved ways and means to accommodate the natural and
healthy anxiety that even artists bring to their creative work.
Finding a Physical Edge
As ...
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