ABSTRACT
This chapter aims to identify possible applications of Social Dreaming for theatrical work. This aim was underpinned by two assumptions: that Social Dreaming has a potential contribution to make, in theatrical production; and more specifically, that it can develop the creativity of aspiring theatre directors. A. Ehrenzweig suggested that creativity involves complementary modes of thought: differentiated thinking and undifferentiated thinking. Ehrenzweig's approach was rooted in psychoanalytic theory, but partial in its perspective. He was condescending—if not dismissive—of Jung's views on creativity. Creativity itself is not the prerogative of artists—but anyone wanting to make a living through the arts has to develop this particular mental muscle, and has to develop an awareness of what using it involves. Ehrenzweig called it 'the privilege of the artist', to work in this way. The chapter explores the 'social' dimension of Social Dreaming was mainly focused on the internal processes of a creative group.
