The Art of Choosing Death: Writing as a Martial Discipline
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Chapter 1: Understanding Irimi
In her insightful work, A Director Prepares: Seven Essays on Art and Theatre (2001), Anne Bogart introduces the term “irimi,” derived from Aikido, which resonates profoundly with writers embarking on new projects. While “irimi” translates to “choose death,” the context here is not about literal mortality.
The relevance of “choose death” extends to artists and writers, serving as a metaphor for the challenges they face.
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Section 1.1: The Temptation of Resistance
The allure of inaction is strong; it shields individuals from criticism and the exposure of their vulnerabilities. An unwritten poem, story, or essay remains flawless in our minds, and the uncertainty of having the necessary skills and resources to produce a masterpiece looms large.
Bogart portrays the prelude to action as a state of uncertainty where the right words elude us. This feeling marks the inception of all writing.
Subsection 1.1.1: The Challenge of Articulation
Section 1.2: The Violence of Creation
It can be more comforting to remain in the planning phase, where the idealized version of a work exists without flaw. Bogart refers to this avoidance as “the violence of articulation,” suggesting that the term “violence” aptly captures the risks involved in the creative process.
She explains that evading action may mitigate the risk of failure, but it simultaneously eliminates any chance for growth (p. 49).
Chapter 2: The Dual Paths of Action
There are two distinct choices in this situation: retreat or engage. Remaining silent ensures safety, preserving the status quo. In Aikido, the alternative to irimi is “ura,” which means to circumvent. Preparation and contemplation hold value, but opting to write—essentially “choosing death”—involves risking the journey from potential triumph to the possibility of failure.
Bogart clarifies that while “irimi” means to enter, it can also signify “choose death.” In physical combat, victory demands one to “risk everything and be fully willing to die” (p. 49).
The first video, I Choose Death, delves into the depths of this metaphor, examining the inherent risks and rewards of creative endeavors.
The second video, I Choose Death, further explores the theme of risking failure in the pursuit of artistic expression.
Art: A Different Kind of Battle
Bogart acknowledges the extremity of her analogy; creative work typically doesn't involve actual combat or life-threatening situations. However, she compellingly argues that embarking on a creative endeavor is akin to entering a form of mortal struggle. Each artist faces the daunting task of acting without certainty of success.
Section 2.1: The Artist's Gamble
The notion of engaging in work without guaranteed rewards contrasts sharply with the norm, where compensation typically precedes labor. In reality, artists and writers often labor without assurance of payment or audience recognition. This precarious approach can lead to devastating outcomes for those who dedicate their lives to such endeavors, echoing the fates of poets like Keats or countless tortured souls throughout literary history.
Let’s Address the Reality
You might wonder about the genuine risk involved in sitting down to write a story or poem. Is Bogart’s perspective overly dramatic? While no one literally dies from picking up a pen—barring oppressive regimes—the phrase “choose death,” when interpreted symbolically, proves to be a motivating challenge.
It urges you to take action, to leap into the unknown, and to confront the reality of whether you can meet your aspirations. Thus, instead of merely fantasizing about becoming a novelist, poet, or artist, we must continually embrace the notion of “choosing death.” We must start, prepared to “die,” or, in more relatable terms, to face potential failure head-on.
The only path forward requires embracing the “violence of articulation.”