Balance of action: Unleash the power of creativity in your life And work (HarperCollins Leadership, January 2022, $ 28.99) is a book by Daniel Lamar for anyone who needs creative inspiration. The business section notes and the self help / motivation section, the appeal of this book will be widely used by the traders who need a photo. It not only celebrates the business success that is usually attributed to male CEOs but also focuses its energy on the Cirque du Soleil business (starting in 2001 when Lamarri arrived) focusing on the company’s artistic influence in the performing arts. With relatively little music – and even less. Recognize the creative contribution of these artists, allow artists beyond the aesthetics of the circuit. In addition to the mention of a female creative (and a POC artist), the mention of almost every woman in the book is often related to their status as women (including Beatles wives).
Daniel Lamar was the perfect hype man for the job. In his two decades as CEO, his voice remained optimistic, even in the darkest moments of the plague when he photographed himself walking into the only hall of head office, back to the corporate Returns, and relentlessly simplifies bankruptcy / reinvestment deals. Show (and pay the freelancers who demand their reimbursement). Though styled as a book to promote the creativity of the business people, people in the circus business will find it interesting to look behind the scenes of a very popular circus company.
In parallel with the circus reconstruction, the local circus sector is in a state of revival, with Chicago circus schools such as the Actors Gymnasium, the Chicago Center for Dynamic Circus, MSA and Circus Arts, and the circus back complete with various classes. Corresponds to all capability levels in operation. . Circus performances keep pace with the re-emergence of the Chicago theater scene, with companies like Yas Mum Circus, the company X-Fare, and La Violetta appearing to the left and right. The Chicago International Puppet Festival kicked off in January (at the height of Omicron), and Tetro Zinzani picked up his second cast much later. A new wall trampoline display, UnawareLaunched in Ulfat in mid-March, and Circle One will be appearing in Ulfat with their show. RagTag April 1-2, while the Physical Theater Festival Chicago returns to full-life production in July. Perhaps the most significant milestone in the revival of the Chicago Circus is the opening version of the Chicago Circus and Performing Arts Festival (produced by Yes Ma’am), which will be open to the public from Circus, Berlusconi, and the physical theater from April 21. Bring artists to Dean. -24 for ten different exhibitions.
In an effort to promote corporate culture and the success of Cirque du Soleil, Lamar does little to reach the status of small companies and festivals, and during epidemics like this, let alone the struggle of circus performers, many of whom Forced to leave. Industry due to lack of support. He misses the opportunity to reflect on the future of the sector and wonders: “If cholera continues, how will the art world continue to adapt and come back to keep the creativity (fattened by these artists) alive?” Pay? ” Creativity is Lamar’s key word in the book, but his focus is still on the big picture – business deals and bailouts that keep a company strong.
Although Lamar struggles to reconcile himself with his clever self-portrait (by his Henry Circus colleagues) as a business chair in a suit, he admits that the cold realities of running a business are often the result of Henry. The company clashes with the romantic dream. Such as when casting executives decide who to hire based on their artistic skills but on whether they might qualify for a ten-day six-day work week. Trained athletes pay better than artists, Lamar argues. Wouldn’t it be better to hire an athlete and teach them art than to hire an artist and train them to be physically resilient? Still, he shows some heart (and internal contradictions), claiming that while working for Circus he thought his mission in life was to create jobs for artists.
Lamar’s bottom line is to be brave, to be innovative, to take risks – all the features are well-received by the circus world. And Business world. Using tired aphrodisiacs and sports equivalents, each season invites you to get there by taking creative risks (escape with the circus!). What emerges is a mantra for management that Lamar credits as a recipe for circuit success, something like, “Encourage people – but monitor creativity.” Yet if his answer is “creativity” – and his definition of the word is “doing business things that work,” then what’s the real question?
Perhaps this: What does the Montreal-based circus company’s struggle (as stated by the CEO) have to do with the Chicago art scene to survive the global epidemic? Perhaps as a case study for model adaptation and ingenuity for local art companies (circuses and theaters)? Or perhaps for art consumers to understand how the cost of a big business affects the quantity and quality of art, not to the audience but to the artists (Kuwait Empire).
Circus closed shops with manufacturers and retailers around the world, laying off nearly 5,000 employees in 2020. Nevertheless, the Montreal Circus community, government, and advocacy organizations (such as Ann Pest) soon partnered with TOHU (as a place of art). Road gate). Together they supported artists with funding, COVID-safe accommodation, and online workshops – using state funding. This model itself was replicated in some European countries, while many theaters, instead of accepting free grants and private funding to improve their structure in a short period of time (new seats, better lighting, deeper stages, beautiful) Game). Too often, money laundering is specific to certain segments of the business, such as structural improvements – providing a tool to improve the overall performance of the business while the real players struggle on their own.
Here in Chicago, idle actors had little support, yet the Stephen Wolf Theater installed improvements worth $ 54 million during the cholera outbreak. CEO Brooke Flingen spoke in an interview about how difficult it was for the arts industry, and said in the same breath, We can really see the building rise. For SteppenWolf, the developments give more access to people with disabilities and provide more opportunities to offer art education (workshops and classrooms). Local actors helped the community expand its influence, even if the players had to look for salaries elsewhere.
Perhaps the main question to answer creativity is: “Why do artists seem to come last when the future of creativity depends on them?”
In the book, Lamar looks upset at the staff trapped at home, and says that the circuit will never endanger their health by returning broadcasts at such a high speed after such a large work gap. But he wants both ways, praising the artists who have been trained in setting up frauds in their garages, and giving them credence on how Circuit can quickly reorganize their programs.
Balance of actions An interesting case study. Lamarry’s enthusiasm is palpable – who doesn’t want to get involved in a business that has had millions of streets in Vegas for decades? He is a good storyteller. Who doesn’t want to read weird stories, like when co-founder Guy Lalibert hired a clown to chase around Lamar to disrupt his work? He has a deep knowledge of finance. Who doesn’t want to understand the harsh details of a deal with lenders – the company borrows 900 900 million and then convinces investors to set aside 37 375 million to make the company worth 1. 1.275 billion? Presto, d Creative Poverty financing turns that negative back into positive! Ever optimistic, Lamarry still points out the changes that have been made to reduce costs, so as to be more efficient and flexible when returning from cholera for the next period, the rebooting took place. He explains with certainty how Cirque had an annual revenue of ملی 1 billion at its height – so maybe a comeback could fix things as soon as possible.
Balance of actions It was his last bow, before the exit stage went to the next scene of his life. Then call this book his taste, to reflect on the lessons he learned on the road while trying to fill the gap between art (idea) and business (idea execution). He talks about the dangers and the drama, their unofficial motto “The show is the star.” (No artists. This explains why none of the artists in the book have names under their pictures, while Lamar, movie stars, photographers, and costume designers are all explicitly attributed.)
Yes, Circumstances has a strange corporate culture, and like most large corporations, some of their views are contradictory. Yet, everyone knows that without the circuit, live entertainment would not have reached the heights that are popular today. That’s why we go to their show. They reinvented something big and elemental about human expression, and like any big business, they would focus on growth and innovation. It is ingrained in our Western psyche to praise and insult companies that succeed in pursuing similar pursuits. In that sense, it is Is Books for People – For Business, And His wife.