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The question

Do you rely more on inspiration or discipline to make your work?

Originally asked

The Creative Independent, to working artists, its interview series

A repeated Creative Independent tension, asked as inspiration, muse, discipline, ritual, or the requirement to show up.

You answer as yourself. Nobody on FLAPSS answers as anybody else.

AF
Athol Fugard

Playwright, director and actor

Recorded said elsewhere, not written here
Do I have a muse? Well, I don’t know if this is an adequate answer, but I suppose my muse is the people of South Africa. I’ve often said that the little — or maybe the lot — I know about loving and hating was taught me by South Africa. Now that’s a big debt. When you owe that much to a situation that has shaped your conscience, your heart, your whole life, you’re profoundly indebted.

Academy of Achievement interview, San Francisco, California, 13 September 2014 source ↗

Others on this question

View all 27 →
John Banville Novelist; winner of the Booker Prize, 2005
I keep office hours. I work from 9:30 to 6:00. It’s curious. In the morning, I could just about tie my shoelaces before noon, but I can write. It’s obviously a different part of my brain that’s working.
Recorded Academy of Achievement interview, London, England, 18 October 2017 source ↗
Carlos Fuentes Novelist and essayist; Mexico's ambassador to France
A writer is no different than a bricklayer or a bus driver in that sense. You must have discipline. Oscar Wilde said that writing is 10 percent genius, 90 percent discipline. You must have discipline for writing. It is not an easy task. It is very lonely. You’re all alone. You are not in company. You are not enjoying yourself in that sense. You are enjoying yourself in another sense. You are delving into your depths, but you are profoundly lonely. It is one of the loneliest careers in the world. In the theater, you are with companions, with directors, actors. In film. In an office. In writing, you are alone. That takes a lot of strength and a lot of will to do it. You must really be in love with what you’re doing to tolerate the huge loneliness of writing.
Recorded Academy of Achievement interview, Los Angeles, California, 2 June 2006 source ↗
Frank O. Gehry Architect; winner of the 1989 Pritzker Prize
It comes out of an intuition, or a learned intuition, I guess. You study a long time ’til you can do it. But it’s from looking around you, it’s from understanding what’s happening in the culture, what’s happening in the world.
Recorded Academy of Achievement interview, Los Angeles, California, 27 September 2016 source ↗
Donald C. Johanson, Ph.D. Palaeoanthropologist; discovered the Lucy skeleton in Ethiopia
I agree with him, essentially, 100 percent. One has to devote oneself to a particular pursuit. To be successful at anything, you have to make a total commitment to it. We so often see students who would love to play baseball like one of their heroes, or would love to be on the basketball court or the football field. They don’t see the 99 percent effort that went into practicing making baskets, or practicing hitting the baseball, or practicing catching a pass on the football field. It takes a tremendous amount of perspiration, a tremendous amount of hard work that you don’t always see or appreciate in the end result. You will find this over and over. Most achievers I know are people who have made a strong and deep dedication to pursuing a particular goal. That dedication took a tremendous amount of effort. That is certainly true in my case. It took a tremendous amount of work to get from point A to point B.
Recorded Academy of Achievement interview, Berkeley, California, 25 January 1991 source ↗

More from Athol Fugard

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Question What is the hardest thing that has happened to you, and what did you carry out of it? Failure & regret
I don’t think I could. Of course I’m saying this on American soil. I’m facing a few more months of work in this city, but at the end of it, I will be returning to South Africa. I would like to believe that if for some reason the situation deteriorated to the point where I was told, “If you leave South Africa, you can never come back,” I’d stay there. There were periods in my life when I could have been seduced away. I am incredibly fortunate that the government took away my passport at the point when I was most open to seduction. With my passport gone, I could have left on a one-way ticket. But the issue was so starkly highlighted that I had no problem in saying, “No.”
Recorded Lloyd Richards, Interview conducted in front of an audience at the Poetry Center of the 92nd Street YMHA, New York, The Paris Review, Issue 111, Summer 1989, 13 October 1985 source ↗
Question What are you best at that nobody watching would notice? Craft & work
That is true. That one little corner of South Africa, Port Elizabeth and its immediate surroundings, is a region that I know like the back of the hand that holds my pen as I write about it. I can stand on a street corner in Port Elizabeth, look at anybody and put together some sort of biography. I know where they come from, where they’re going. I have a feel of the textures of their life. If I stand on a street corner in New Haven, which is a place I’ve gotten to know as well as any place outside of South Africa, I am still at a total loss to identify the people passing me on that street.
Recorded Lloyd Richards, Interview conducted in front of an audience at the Poetry Center of the 92nd Street YMHA, New York, The Paris Review, Issue 111, Summer 1989, 13 October 1985 source ↗

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