In every human endeavor there are two arenas of engagement: the outer and the inner. The outer game is played on an external arena to overcome external obstacles to reach an external goal. The inner game takes place within the mind of the player and is played against such obstacles as fear, self-doubt, lapses in focus, and limiting concepts or assumptions. The inner game is played to overcome the self-imposed obstacles that prevent an individual or team from accessing their full potential.
Barry Green fremhæver at for at kunne spille det det indre spil om musik, så skal man øge opmærksomheden omkring tre mentale og kognitive forhold: awareness, will, trust.
When we are simply aware, without judgement, of the degree to which the outcom of our acts matches our intention, at natural learning takes place. That´s the way we learned to walk, after alle. But when our judgements come into play, we usually try to figure out 'what went wrong', and then overcompensate for our errors. This often causes us to tighten our muscles and increase our overall body tension. We 'try too hard, and this produces more errors the next time around.Awareness, then, means simple awarness of what is happening, before the 'rush to judgment' takes place.
Nogen taler også om "åben tilstand".
Will works throug trial and error. It uses the feedback that awareness gives to improve its aim. In musical terms, you make use of will skills to decide what you want to play and how to play it, and in gradually shaping your performance closer to the idal. (...) I is will that sets a goal, moves directly towards it, and then resets its sights to come closer to acomplishing the goal next time around.
It takes trust to allow simple awareness to take place, without imediately bombarding yourself with criticisms and judgements. It takes trust to explore the will's trial and error apporach. Above all, it takes trust in our inner resources for to tap into them and so perform our bedst.Trust may sound lik a hard quality to muster up. It isn´t; your early successes at the inner game will bring you the confidence you need.
Så selv om noget ikke lige lykkes alt for godt i første, andet og tredje forsøg, så skal du have selvtillid nok til at det vil det så i fjerde, femte eller sjætte forsøg. Blot du har viljen og fokusere på det der sker og det du - dvs. din krop og din underbevidsthed - gør her og nu.
Each time yo play the Inner Game, you wil increase your skills a little more in each area. This in turn will result in af improved outer game performance, hightened learning and greater enjoyment. A balance of the three skills will lead you into the state of relaxed concentration that we talked about earlier - and which we see in great athletes like Kareem Abdul-Jabbar and famous performers like Stephane Grapelli.
Der indgår jo observation af en selv og af andre når du performer disse fysiske aktiviteter, men skrivningens performance foregår jo inde i hovedet - så kun det færdig resultat "the outer game" - kan iagttages. Som fodbolden der er kommet i mål, eller golfbolden i hul, eller serveesset eksekveret i tennis. Men vejen til målet er usynlig.
Without reflection we say we learn from experience, by doing. Actually we practise through doing, we gain mastery through doing. But we learn by watching.This was the great insight of Timothy Gallwey’s book the ‘Inner game of tennis’. In fact he was rediscovering what has been known in Japan and other countries for millennia: that by increasing awareness of what you do and what others do leads to learning. By watching others and having a method of watching yourself you learn. Automatically. We have this funny idea, no doubt a product of school, that we need a verbal instruction to prompt us to learn anything. Totally wrong. We learn silently and immediately by watching. I saw one of my godsons doing cartwheels in the small gardenless apartment he lives in. I asked his mother, "who taught him.“ She said, "he taught himself - by watching video games.”.What has this to do with writing?I think we learn by watching how others write. By reading you mean?Nope. I think reading is a pretty poor way of learning to write. If it wasn’t wouldn’t all those eggheads who study literature be great writers?I think we watch other writers by simply COPYING paragraphs/stories/chapters/entire books. Evidence: Robert Louis Stevenson, Raymond Chandler and Hunter S. Thompson. Stevenson copied out work by Walter Scott. Chandler copied dialogue and paragraphs from crime writers he admired. Thompson typed out the whole of Fitzgerald’s Great Gatsby and the whole of The Sun also Rises by Hemingway.My only copying was limited to some paragraphs from Evelyn Waugh’s travel books. But what I did do at an early age was act as the copyist for poet and writer Steve Micalef, the founder of Punk Fanzine Sniffin’ Glue. He’d dictate a story and I’d write it down. I learnt more in a few days doing this than in years of reading and scribbling on my own. I have also taken a book I enjoy and writen an outline for it – to see what an outline for a great book looks like and to see how the author achieved his effects.How useful are a bunch of tips? Well I find they can be very useful indeed at getting you back on track, stimulating a new idea, helping a new approach. The tip of always exaggerating characters has been a great help to me when I’ve been stuck with dialogue or a good scene. But tips won’t get you all the way. I think the inner game canSo after you’ve read a book you admire just copy out a favourite paragraph or two. Maybe an entire story. You’ll be surprised that some of the writer’s DNA will enter into you. You’ll feel that you own his style in some way.