With insight into key pedagogical approaches of theatre training, an understanding of research re... more With insight into key pedagogical approaches of theatre training, an understanding of research regarding common psychological characteristics of actors and awareness of identified parallels between arts entrepreneurship and acting course content, arts entrepreneurship instructors can, in their classrooms, increase the likelihood of relating to acting students and subsequently, leverage their students’ inherent and developed skills. Research-based psychological characteristics of actors are offered, as are suggestions to appeal to actors’ general sensibilities (and how they may wish to be engaged). The Stanislavski System is the most popular approach to actor training; its critical structural components are discussed in addition to various offshoots of the original technique. Unique features of acting training such as encouraging imagination, reflection, openness to experience, emotional connections, pursuit of goals and the importance of soft skills are emphasized.
Aesthetics, Medium, and Method: An Introduction to the Differences and Similarities Between Arts and Non-arts Entrepreneurs, 2021
A topic not often addressed in entrepreneurship literature is the broader similarities and differ... more A topic not often addressed in entrepreneurship literature is the broader similarities and differences between arts and non-arts entrepreneurs and the implications these analogous distinctions have in the classroom. This article is an initial exploration of the topic and outlines a minimal, broad-based hierarchy of the artistic process. Further, we attempt to identify the fundamental similarities of the two entrepreneurs and suggest they both engage not only in an analogous process, they are somewhat distinct in the “meta” materials used. Through comparison, we posit that the “meta” process used by artists is also used by non-arts entrepreneurs. By drawing attention to these analogies, educators will likely discover components applicable to traditional entrepreneurship courses; the inverse is already occurring within the medium of creative and arts entrepreneurship.
With insight into key pedagogical approaches of theatre training, an understanding of research re... more With insight into key pedagogical approaches of theatre training, an understanding of research regarding common psychological characteristics of actors and awareness of identified parallels between arts entrepreneurship and acting course content, arts entrepreneurship instructors can, in their classrooms, increase the likelihood of relating to acting students and subsequently, leverage their students’ inherent and developed skills. Research-based psychological characteristics of actors are offered, as are suggestions to appeal to actors’ general sensibilities (and how they may wish to be engaged). The Stanislavski System is the most popular approach to actor training; its critical structural components are discussed in addition to various offshoots of the original technique. Unique features of acting training such as encouraging imagination, reflection, openness to experience, emotional connections, pursuit of goals and the importance of soft skills are emphasized.
Entrepreneurship is a creative act with entrepreneurs creating products, services, jobs, economic... more Entrepreneurship is a creative act with entrepreneurs creating products, services, jobs, economic stimulation, culture and more. This creatively written book offers a wide array of exercises of varied time requirements for implementation, as well as a complexity of content. In addition to more traditional topics, the book serves to enhance students’ imaginative and creative abilities so they can effectively problem-solve and build their creative entrepreneurial visions. Learning objectives can be directly implemented into syllabi.
With only a hand full of schools teaching Arts Entrepreneurship ten years ago, today there are ov... more With only a hand full of schools teaching Arts Entrepreneurship ten years ago, today there are over ninety-five American colleges and universities addressing the topic. But how should artists be taught entrepreneurial skills? If artists want an MBA, they will go get one--but, for the most part, this is not happening. When educators appeal to artists' sensibilities, by teaching through play, they increase the likelihood of artists embracing entrepreneurship, and thus increase the chances of more artists making a living from their creativity and artistry.
Jim Hart serves as Director of the Arts Entrepreneurship program at SMU. Hart founded the first conservatory for theatre entrepreneurship, TITAN Theatre Academy, in Oslo, Norway and is a graduate of SMU Theatre and Yale School of Drama. He is the winner of the USASBE Spark! prize for impactful entrepreneurial exercises and a co-founder of the Society for Arts Entrepreneurship Education. www.artsentrepreneurshipgames.com
This talk was given at a TEDx event using the TED conference format but independently organized by a local community. Learn more at http://ted.com/tedx
With insight into key pedagogical approaches of theatre training, an understanding of research re... more With insight into key pedagogical approaches of theatre training, an understanding of research regarding common psychological characteristics of actors and awareness of identified parallels between arts entrepreneurship and acting course content, arts entrepreneurship instructors can, in their classrooms, increase the likelihood of relating to acting students and subsequently, leverage their students’ inherent and developed skills. Research-based psychological characteristics of actors are offered, as are suggestions to appeal to actors’ general sensibilities (and how they may wish to be engaged). The Stanislavski System is the most popular approach to actor training; its critical structural components are discussed in addition to various offshoots of the original technique. Unique features of acting training such as encouraging imagination, reflection, openness to experience, emotional connections, pursuit of goals and the importance of soft skills are emphasized.
Aesthetics, Medium, and Method: An Introduction to the Differences and Similarities Between Arts and Non-arts Entrepreneurs, 2021
A topic not often addressed in entrepreneurship literature is the broader similarities and differ... more A topic not often addressed in entrepreneurship literature is the broader similarities and differences between arts and non-arts entrepreneurs and the implications these analogous distinctions have in the classroom. This article is an initial exploration of the topic and outlines a minimal, broad-based hierarchy of the artistic process. Further, we attempt to identify the fundamental similarities of the two entrepreneurs and suggest they both engage not only in an analogous process, they are somewhat distinct in the “meta” materials used. Through comparison, we posit that the “meta” process used by artists is also used by non-arts entrepreneurs. By drawing attention to these analogies, educators will likely discover components applicable to traditional entrepreneurship courses; the inverse is already occurring within the medium of creative and arts entrepreneurship.
With insight into key pedagogical approaches of theatre training, an understanding of research re... more With insight into key pedagogical approaches of theatre training, an understanding of research regarding common psychological characteristics of actors and awareness of identified parallels between arts entrepreneurship and acting course content, arts entrepreneurship instructors can, in their classrooms, increase the likelihood of relating to acting students and subsequently, leverage their students’ inherent and developed skills. Research-based psychological characteristics of actors are offered, as are suggestions to appeal to actors’ general sensibilities (and how they may wish to be engaged). The Stanislavski System is the most popular approach to actor training; its critical structural components are discussed in addition to various offshoots of the original technique. Unique features of acting training such as encouraging imagination, reflection, openness to experience, emotional connections, pursuit of goals and the importance of soft skills are emphasized.
Entrepreneurship is a creative act with entrepreneurs creating products, services, jobs, economic... more Entrepreneurship is a creative act with entrepreneurs creating products, services, jobs, economic stimulation, culture and more. This creatively written book offers a wide array of exercises of varied time requirements for implementation, as well as a complexity of content. In addition to more traditional topics, the book serves to enhance students’ imaginative and creative abilities so they can effectively problem-solve and build their creative entrepreneurial visions. Learning objectives can be directly implemented into syllabi.
With only a hand full of schools teaching Arts Entrepreneurship ten years ago, today there are ov... more With only a hand full of schools teaching Arts Entrepreneurship ten years ago, today there are over ninety-five American colleges and universities addressing the topic. But how should artists be taught entrepreneurial skills? If artists want an MBA, they will go get one--but, for the most part, this is not happening. When educators appeal to artists' sensibilities, by teaching through play, they increase the likelihood of artists embracing entrepreneurship, and thus increase the chances of more artists making a living from their creativity and artistry.
Jim Hart serves as Director of the Arts Entrepreneurship program at SMU. Hart founded the first conservatory for theatre entrepreneurship, TITAN Theatre Academy, in Oslo, Norway and is a graduate of SMU Theatre and Yale School of Drama. He is the winner of the USASBE Spark! prize for impactful entrepreneurial exercises and a co-founder of the Society for Arts Entrepreneurship Education. www.artsentrepreneurshipgames.com
This talk was given at a TEDx event using the TED conference format but independently organized by a local community. Learn more at http://ted.com/tedx
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“meta” materials used. Through comparison, we posit that the “meta” process used by artists is also used by non-arts entrepreneurs. By drawing attention to these analogies, educators will likely discover components applicable to traditional entrepreneurship courses; the inverse is already occurring within the medium of creative and arts entrepreneurship.
Books by James D . Hart
Talks by James D . Hart
Jim Hart serves as Director of the Arts Entrepreneurship program at SMU. Hart founded the first conservatory for theatre entrepreneurship, TITAN Theatre Academy, in Oslo, Norway and is a graduate of SMU Theatre and Yale School of Drama. He is the winner of the USASBE Spark! prize for impactful entrepreneurial exercises and a co-founder of the Society for Arts Entrepreneurship Education.
www.artsentrepreneurshipgames.com
This talk was given at a TEDx event using the TED conference format but independently organized by a local community. Learn more at http://ted.com/tedx
“meta” materials used. Through comparison, we posit that the “meta” process used by artists is also used by non-arts entrepreneurs. By drawing attention to these analogies, educators will likely discover components applicable to traditional entrepreneurship courses; the inverse is already occurring within the medium of creative and arts entrepreneurship.
Jim Hart serves as Director of the Arts Entrepreneurship program at SMU. Hart founded the first conservatory for theatre entrepreneurship, TITAN Theatre Academy, in Oslo, Norway and is a graduate of SMU Theatre and Yale School of Drama. He is the winner of the USASBE Spark! prize for impactful entrepreneurial exercises and a co-founder of the Society for Arts Entrepreneurship Education.
www.artsentrepreneurshipgames.com
This talk was given at a TEDx event using the TED conference format but independently organized by a local community. Learn more at http://ted.com/tedx