- published: 03 Apr 2013
- views: 1746
- author: john doe
12:36
1963 World Series Game 1: Dodgers @ Yankees
Pitching Matchup: Sandy Koufax vs Whitey Ford....
published: 03 Apr 2013
author: john doe
1963 World Series Game 1: Dodgers @ Yankees
1963 World Series Game 1: Dodgers @ Yankees
Pitching Matchup: Sandy Koufax vs Whitey Ford.- published: 03 Apr 2013
- views: 1746
- author: john doe
9:35
1963 world series part 1
...
published: 12 Oct 2009
author: Kevin Kunkel
1963 world series part 1
9:22
1963 world series part 2
...
published: 12 Oct 2009
author: Kevin Kunkel
1963 world series part 2
1:43
Dodgers win 1963 World series
Dodgers win 1963 world series....
published: 14 Apr 2012
author: mega dodgerboy
Dodgers win 1963 World series
Dodgers win 1963 World series
Dodgers win 1963 world series.- published: 14 Apr 2012
- views: 659
- author: mega dodgerboy
16:08
1963 world series part 3
...
published: 16 Dec 2010
author: Kevin Kunkel
1963 world series part 3
3:29
1962 World Series Game 7: Yankees @ Giants
New York Yankees vs San Francisco Giants @ Candlestick park Ralph Terry vs Jack Sanford....
published: 30 Dec 2011
author: john doe
1962 World Series Game 7: Yankees @ Giants
1962 World Series Game 7: Yankees @ Giants
New York Yankees vs San Francisco Giants @ Candlestick park Ralph Terry vs Jack Sanford.- published: 30 Dec 2011
- views: 34277
- author: john doe
0:13
1963 Dodgers World Series
In 1963, the Yankees would be in the World Series for their fourth staight year, after bea...
published: 10 May 2009
author: Nick Daly
1963 Dodgers World Series
1963 Dodgers World Series
In 1963, the Yankees would be in the World Series for their fourth staight year, after beating the San Francisco Giants the year before. This year they would...- published: 10 May 2009
- views: 7252
- author: Nick Daly
14:19
Houston's 1963 Road to the LL World Series
North Houston National Little League 1963 World Series team. We lost 3-2 in extra innings ...
published: 24 Aug 2010
author: Kenny Rodgers
Houston's 1963 Road to the LL World Series
Houston's 1963 Road to the LL World Series
North Houston National Little League 1963 World Series team. We lost 3-2 in extra innings (games were 6 innings and this game lasted 9) to Granada Hills, CA ...- published: 24 Aug 2010
- views: 504
- author: Kenny Rodgers
167:12
1970 World Series, Game 5: Reds @ Orioles
OCincinnati Reds 3 at Baltimore Orioles 9, F -- After a rocky first inning, Cuellar silenc...
published: 28 Sep 2010
author: MLBClassics
1970 World Series, Game 5: Reds @ Orioles
1970 World Series, Game 5: Reds @ Orioles
OCincinnati Reds 3 at Baltimore Orioles 9, F -- After a rocky first inning, Cuellar silenced the Reds over the final eight frames to earn a complete game, si...- published: 28 Sep 2010
- views: 9518
- author: MLBClassics
50:24
Cardinals and Dodgers from 1959
Jack Brickhouse has the call in this game at the LA Coliseum between St. Louis and Los Ang...
published: 30 Dec 2012
author: michael681999
Cardinals and Dodgers from 1959
Cardinals and Dodgers from 1959
Jack Brickhouse has the call in this game at the LA Coliseum between St. Louis and Los Angeles. The box score for this game is available at http://www.baseba...- published: 30 Dec 2012
- views: 5804
- author: michael681999
5:27
1967 World Series Game 7: Cardinals vs Red Sox
St Louis Cardinals vs Boston Red Sox @ Fenway Park Bob Gibson vs Jim Lonborg Cardinals Lin...
published: 02 Aug 2011
author: john doe
1967 World Series Game 7: Cardinals vs Red Sox
1967 World Series Game 7: Cardinals vs Red Sox
St Louis Cardinals vs Boston Red Sox @ Fenway Park Bob Gibson vs Jim Lonborg Cardinals Lineup Lou Brock LF Curt Flood CF Roger Maris RF Orlando Cepeda 1B Tim...- published: 02 Aug 2011
- views: 18873
- author: john doe
2:00
Stock Footage - Dodgers Win World Series 1955
Dodgers Win World Series 1955, http://www.myfootage.com/details.php?gid=58&sgid;=&pid;=23219...
published: 18 Aug 2011
author: clipcafe
Stock Footage - Dodgers Win World Series 1955
Stock Footage - Dodgers Win World Series 1955
Dodgers Win World Series 1955, http://www.myfootage.com/details.php?gid=58&sgid;=&pid;=23219.- published: 18 Aug 2011
- views: 7596
- author: clipcafe
1:06
Sandy Koufax Autographed 1963 WS Photo 16x20 - PSA/DNA Limited Edition of 750
This is a limited edition 16x20 photo autographed by legendary pitcher, Sandy Koufax. You ...
published: 08 Nov 2012
author: mrsportsmem
Sandy Koufax Autographed 1963 WS Photo 16x20 - PSA/DNA Limited Edition of 750
Sandy Koufax Autographed 1963 WS Photo 16x20 - PSA/DNA Limited Edition of 750
This is a limited edition 16x20 photo autographed by legendary pitcher, Sandy Koufax. You can view more about this product here - http://www.sportsmemorabili...- published: 08 Nov 2012
- views: 59
- author: mrsportsmem
Vimeo results:
47:26
Megalightning
ENTIRELY NEW FORMS OF LIGHTNING HAVE BEEN DISCOVERED UP TO 1000 TIMES BIGGER THAN ANY BOLT...
published: 07 Jul 2011
author: dmptv
Megalightning
ENTIRELY NEW FORMS OF LIGHTNING HAVE BEEN DISCOVERED UP TO 1000 TIMES BIGGER THAN ANY BOLT PREVIOUSLY SEEN. WHILE NORMAL LIGHTNING FIRES DOWN BELOW CLOUDS, THESE GIANT BOLTS SHOOT UP, STUNNING EXPERTS WITH IMAGES OF LIGHTNING 80 KILOMETRES HIGH.
THIS LIGHTNING, SIX TIMES MORE POWERFUL THAN PASSENGER PLANES ARE DESIGNED TO WITHSTAND, MAY BE THE REAL KILLER IN A SPATE OF BAFFLING AIR DISASTERS.
Camera takes photo.
AND FOR THE FIRST TIME WE CAN REVEAL THE PHOTOGRAPH THAT SPARKED A SECRET NASA ENQUIRY.
WAS THIS THE PROOF THAT A HIGH ALTITUDE LIGHTNING STRIKE CAUSED THE CRASH OF THE SPACE SHUTTLE COLUMBIA?
Title card:
MEGA-LIGHTNING
NARRATOR:
EACH DAY, THE EARTH IS SHAKEN BY 8 MILLION BOLTS OF THE SKY'S MOST POWERFUL FORCE: LIGHTNING.
Bolt of lightning.
NARRATOR:
ENERGY FROM ONE BOLT EXPLODES IN SPLIT SECOND, BUT COULD POWER A HOUSEHOLD FOR HALF A YEAR. AT ANY TIME, 1800 STORMS PUMMEL OUR PLANET. EACH ONE IS A GIANT BATTERY. INSIDE A STORM, WATER TURNS TO HAIL. FAILLING ICE CRASHES ON RISING DROPLET, CREATING STATIC ELECTRICITY. CHARGES OF UP TO 100 MILLION VOLTS BUILD UP. ARCS OF ELECTRICITY FIRE OUT. THIS IS LIGHTNING. MORE THAN 90 PERCENT OF ALL BOLTS FIRE WITHIN CLOUDS. BUT A HIGHLY CHARGED STORM WILL FIRE A CASCADE OF ELECTRICAL CHARGE TO EARTH, DRAWN TO THE HIGHEST POINT. A TREE OR A BLADE OF GRASS CAN TRIGGER LIGHTNING, OR EVEN A PERSON. EACH YEAR, 100O PEOPLE AROUND THE WORLD DIE FROM DIRECT HIT. A LIGHTNING BOLT IS ONLY 3 CM WIDE. BUT AT 33,000 DEGREES CELCIUS, IT IS HOTTER THAN THE SURFACE OF THE SUN.
CGI lightning.
NARRATOR:
THIS HEAT EXPANDS THE SURROUNDING AIR, WHICH EXPLODES OUTWARDS AS THUNDER, THE SOUND OF LIGHTNING.
CGI lightning strike.
NARRATOR:
A LIGHTNING FLASH TRAVELS AT THE SPEED OF LIGHT; IT'S THUNDER TRAVELS MUCH SLOWER. THE SHORTER THE TIME BETWEEN THE FLASH AND THE THUNDER, THE CLOSER THE LIGHTNING BOLT. FEW CLOUD TO GROUND STRIKES ARE LONGER THAN THREE KILOMETRES. AND TEXTBOOKS SAID NO LIGHTNING COULD EXIST ABOVE THE CLOUDS.
Cloud to ground lighting with measuring rod.
Walt Lyons on balcony.
NARRATOR:
BUT THEN WEATHERMAN WALT LYONS AIMED HIS CAMERA ACROSS THE COLORADO PLAINS ON JULY 6, 1993.
Mountains through Walt's eye glasses
NARRATOR:
WHAT HE SAW OVERTURNED 200 YEARS OF SCIENTIFIC CERTAINTY IN AN INSTANT.
Green sprites images.
NARRATOR:
HE FILMED THESE VIDEO IMAGES. THEY SHOW LIGHTNING 80 KILOMETRES HIGH AND 40 KILOMETRES WIDE FIRING ABOVE THE CLOUDS. THEIR EXISTENCE HAD BEEN DISMISSED AS FANTASY. THEIR DISCOVERY SHEDS NEW LIGHT ON WHAT HAS BEEN CAUSING AIRPLANES TO FALL FROM THE SKY.
Sunrise.
Stuart Beecher lights a pipe.
NARRATOR:
THE DISCOVERY OF MEGA-LIGHTNING BEGAN WITH ORDINARY PEOPLE SEEING EXTRAORDINARY THINGS.
Stills of Beecher in name separated by light flashes.
NARRATOR:
IN 1969 STUART BEECHER WAS DEFENDING A MORTAR PIT OUTSIDE SAIGON IN SOUTH VIETNAM, WHEN A STORM BROKE.
Stuart Beecher:
There was this giant flash of lighting that reached from the ground through the base of the cloud, completed illuminated the cloud, and out the top from the ground, in this beautiful double helix pattern, that seemed to just go on forever. It was just like it was going straight into space.
Amateur photo of above cloud lightning.
STRAPLINE:
Photograph: Tudor Williams
NARRATOR:
THERE HAD EVEN BEEN PHOTOGRAPHS. THIS WAS TAKEN AT MT ISA IN AUSTRALIA, IN 1968. SCIENTISTS HAD IGNORED THE SIGHTINGS.
Skeet Vaughan flying.
NARRATOR:
SKEET VAUGHAN, A SENIOR NASA ENGINEER, MET A WITNESS WHO HAD SEEN GIANT LIGHTNING IN 1981. AS A TRAINED PILOT, VAUGHAN TOOK THE SIGHTING SERIOUSLY.
STRAPLINE:
Skeet Vaughan - NASA Engineer 1959-96
Skeet Vaughan:
I wrote an article in one of the flying magazines, and asked pilots to tell me if they'd seen any unusual lightning, or anything out of the ordinary. A number of pilots, about 19 of them, sent me letters telling me about this kind of a thing.
Pilot walks to letterbox.
NARRATOR:
PILOT LARRY PARTRIDGE WAS ONE OF THOSE WHO WROTE TO VAUGHN, REVEALING THAT HE'D SEEN GIANT LIGHTNING ABOVE THE CLOUDS GOING UP, AND NOT DOWN.
STRAPLINE:
Larry Partridge, pilot.
Larry Partridge:
All of a sudden, POW! Just a split second, this huge bolt of lightning came out of the top and disappeared into deep blue space. The captain turned to me and said, wide eyed, and said did you see that? And so I said yes, and so we turned and told the flight engineer, and he said, that's impossible. Lightning doesn't go up.
CGI blue jet.
Pilot Robin May flying.
STRAPLINE:
Robin May - pilot
Robin May:
A Strike of lightning appeared to come from the top of the cloud, went straight up, bright white, for ten or 15 thousand feet, then broke up into a lot of little fingers that went through the different colours of the spectrum, and disappeared off into space.
CGI of sprite to show what Larry sees through window of plane.
Skeet Vaughn:
But most of the pilots had said they'd never talk to people about this, they were somewhat reluctant to, in the case that they
3:01
Ann-Margret - I Just Don't Understand (RCA Victor 7894)
fliped with ''I Don't Hurt Anymore'' issued on RCA Victor in 1961
http://www.ann-margret....
published: 05 Apr 2009
author: boogaludo
Ann-Margret - I Just Don't Understand (RCA Victor 7894)
fliped with ''I Don't Hurt Anymore'' issued on RCA Victor in 1961
http://www.ann-margret.com/
Born Ann-Margret Olsson, 28 April 1941, Stockholm, Sweden
Actress/singer/dancer/entertainer: best known for Bye Bye Birdie and Viva Las Vegas. Nominated for best supporting actress in Carnal Knowledge and best actress in Tommy
Born in Sweden but adopted by America
The family moved to Valsjobyn when A-M was still a little baby. This is a little village of about 150 people located in the mountains in the county of Jamtland. It is 4 miles east of the border of Norway. A-M is named after a Swedish swimming star her mother admired. She has no brothers or sisters
She came to the United States with her mother when she was five, settling in Wilmette, Illinois (north of Chicago). A-M's father who had come to America previously, greeted them
Ann-Margret has dazzled screen and stage audiences. With her film debut in Frank Capra's final classic, "Pocketful of Miracles" in 1962 to the recent Oliver Stone directed "On Any Sunday" with Al Pacino, Ann-Margret's film career has spanned four decades. Displaying a versatility that few actresses can match has earned her love and admiration, not just for her beauty and her legend but also for herself
Ann-Margret Olsson becomes Ann-Margret. George Burns propels her into national prominence in Las Vegas.
Her meteoric rise to stardom begins with a LIFE Magazine cover story from 11 January 1963
See http://www.geocities.com/Hollywood/Boulevard/5000/am-life630111.jpg
Her early film career incls. "Pocketful of Miracles," "State Fair," "Bye Bye Birdie," "Viva Las Vegas" with Elvis Presley, "Stagecoach," and "The Cincinnati Kid." Her fairytale marriage to Roger Smith. TV Specials, record releases, Las Vegas nightclub act, and national recognition as a "superstar sex symbol" punctuate Ann-Margret's life in the fast paced sixties
In '72, husband Roger started producing all of A-M's stage shows. At 12:30 at night while doing her 12th show (in 6 nights) at the Sahara Hotel in Lake Tahoe on Sunday, September 10th, A-M fell 22 feet on stage. Her injuries included numerous bones in the face above an eye which were broken or fractured; jaw broken in two places; left arm broken; knee injured. Dr. Frank Ashley performs a 5-hour operation at UCLA Medical Center. Roger gives A-M a 20-karat diamond ring. Reports say she lapsed into a 3-day coma
A-M does a remarkable comeback opening at the Las Vegas Hilton on Tuesday, November 28th with the 'AM/PM' show. A-M picks up the nickname of 'Slugger' since she proved her strength recovering from her accident.
The Seventies truly defined Ann-Margret as an actress with Academy Award nominations for her work in "Carnal Knowledge", and "Tommy." The accident was a near brush with death and it almost ended her career but following her live performances draw record crowds in the Orient, Las Vegas and Miami. Her body of work expands with more films, TV Specials and awards
This is the decade in which Ann-Margret grows up. The eighties begin with her winning her first Las Vegas Entertainer of the Year Award. She tours the country with her Vegas act. Her film career is full speed ahead and she stars in her first of several critically acclaimed TV Dramas, and is nominated for three Best Actress Emmy's. However, her husband Roger is stricken with Myasthenia Gravis, and Ann-Margret is thrust into the toughest role of her career... she's in charge of her career and Roger's battle to survive.
A new, mature Ann-Margret emerges in the nineties. Roger's health stabilizes and new opportunities abound. She performs live at the Radio City Music Hall. She tackles new characters in TV Film Dramas and receives renewed acclaim for her acting. She films two classics: "Grumpy Old Men," and its sequel, "Grumpier Old Men" with Walter Mathau, Jack Lemmon and Sophia Loren. Ann-Margret just gets better and better
In 2001 she starred in the touring production of The Best Little Whorehouse in Texas is playing the lead role of Miss Mona Stangley, indomitable madam of the multi-storied Chicken Ranch brothel
She really has made a whole raft of movies - and records. Add multi -TV appearances incl. mini-series. Here's a reminder of some of the best movie roles:
Emily Porter - State Fair - 62 Kim - Bye Bye Birdie - 63 Rusty Martin - Viva Las Vegas - 64 aka Love in Las Vegas Melba - The Cincinnati Kid - 65 Laurel - Bus Riley's Back in Town - 65 Dallas - Stagecoach - 66 Kelly Olsson - The Swinger - 66 Bobbie - Carnal Knowledge - 71 Nora Walker Hobbs - Tommy - 75
Oh, Jody Dvorak in Kitten with a Whip - 64 seems to have attracted a lot of attention
On TV in biopics, she's portrayed Pamela Harriman and Diane Borchardt, then the part of Blanche DuBois in A Streetcar Named Desire - 84. Appeared in the That's Dancing! compilation - 85
Examples of her recordings:
And Here She Is Ann-Margret's first long-player from RCA, 1961. Jazzy orchestra conducted by Marty Paich.
On The Way Up, her seco
16:19
GESTALT WORK ON AWARENESS (HQ) - PART גשטאלט - מודעות - חלק 1
HQ. gestalt work on awareness, part 1. hebrew subtitles added.
BY FRANKLYN WEPNER ...
published: 13 Aug 2011
author: franklyn wepner
GESTALT WORK ON AWARENESS (HQ) - PART גשטאלט - מודעות - חלק 1
HQ. gestalt work on awareness, part 1. hebrew subtitles added.
BY FRANKLYN WEPNER SEPTEMBER 1, 2006
HOW I WORK: GESTALT DREAMWORK AS THEATER AND PROPHECY
GESTALT DREAM WORK AS PREPARATION FOR PERFORMING
Since 1975 I have been using Gestalt work on awareness, dreams and personal relationships as a way to train and direct performers. The basic principle is simple. I use the Gestalt work to peel the onion of layer after layer of social cliches, ego games and unfinished personal business, and then I do the reverse process reconstituting the onion in the form of characters or other artist structures. The existential message of the dream becomes the superobjective or action of the tragedy, and then I build up the way the performer handles the characters and the plot around that.
My usual procedure is to begin the training with three Gestalt sessions, one on one. The first session, two hours long, deals with the three zones of awareness. During the first hour I simply let him relate what he aware of, since I want to know how he operates before I start meddling with his life. This is important since overall during the Gestalt sessions we are peeling the onion of cliches and games to get to authentic action, and later we will need all of those layers to rebuild the onion as characters involved in the unfolding action of a drama. We need his cliche and game layers for the beginning of the action in Act One as much as we need his authentic action at the end of the dramatic action for Acts Four and Five of a tragic drama.
During the second hour of the first Gestalt session on awareness I attempt to guide him towards a balance of the zones of awareness: outer zone awareness of the environment, inner zone awareness of his body, and fantasy zone awareness of his daydreams. The second and third Gestalt sessions are each three hours long, and each is a typical Gestalt dreamwork session as presented by Fritz Perls in Gestalt Therapy Verbatim. The performer tells the dream in the here and now, identifies with (play acts) several of the main images of the dream in dialogues with each other, and experiences the rhythm of contact and withdrawal. That is to say, after each major dialogue of polarized sides of himself (the contact part) he is instructed to close his eyes, enter his body awareness and daydream (the withdrawal phase of the rhythm).
Since my goal is theater as well as healing, whenever possible during the Gestalt dreamwork I encourage lots of expression using sound and movements. I work with a palette of about 200 different types of recorded musical excerpts, and whenever appropriate I ask him if that image or emotional state were part of a movie what sort of music might be the sound track. Then I find something close to that in my palette of musical colors and ask him to express the mood using the music along with his vocalizing and expressive movements. While he is doing the entire session I spend most of my time jotting down near verbatim notes and making stick figures of his poses and movements, since later in the work I will feed all this back to him and encourage him to explore using it as creative material for acting, dance or whatever his medium is. Taping the session is less useful, since then I would need to spend too much time replaying the tapes. Taking notes live forces me to sort out the wheat from the chaff very efficiently, even at the cost of not observing or notating every detail.
WORKING OUT FROM YOUR CENTERS
After the three introductory one on one Gestalt sessions, session number four is for feedback and discussion of the results. I show him in my notes and diagrams all of the stages of competed and uncompleted actions, and together we search for characters in the theater literature that have similar patterns of action. Is he a Hamlet type, or an Oedipus type, for example? In contrast to the usual practice in acting classes, his first acting assignment probably will be a monologue from a serious tragedy, since I want him to begin with a dramatic action with which he can identify totally. In this process he is using his major Gestalt moments as what Michael Chekhov in his book "To The Actor" labels "psychological gestures". Perls calls them the "essences" of a patient's personality, or we can say he is working from his "centers", stretching those sounds, moves and psychological motivations in as many creative directions as he can. I monitor closely to be sure he is not faking it, the way most actors end up doing since they do not have the centers to begin with.
Before the performer begins working with others doing improvs and scenework, there is an important transitional stage in the work in which I help him get comfortable using his very personal Gestalt material freely as creative material. He needs to shift from seeing himself as a patient to enjoying the role of an artist of the
29:21
GESTALT WORK ON AWARENESS WITH BEL part 3 (HQ)
part 3 of a two hour gestalt session on awareness with actress bel baca. the focus here is...
published: 01 Jan 2011
author: franklyn wepner
GESTALT WORK ON AWARENESS WITH BEL part 3 (HQ)
part 3 of a two hour gestalt session on awareness with actress bel baca. the focus here is "the rhythm of contact and withdrawal", alternating between contact with the environment and withdrawal into the void of "not knowing" to discover what fantasies and new ideas are waiting to emerge into awareness there.
TO VIEW OR DOWNLOAD ALL OF MY VIDEOS, PLUS 1500 PAGES OF MY EXPLANATORY ESSAYS (ALL AT NO CHARGE) PLEASE VISIT MY WEBSITE: franklynwepner.com. ALSO PLEASE NOTE MY NEW EMAIL ADDRESS, IF YOU WOULD LIKE TO SHARE WITH ME ANY COMMENTS ABOUT MY WORK: franklynwepner@gmail.com. IN THE LISTING OF VIDEOS THE LETTERS (HQ) REFER TO A HIGHER QUALITY VERSION OF THE VIDEO, WHICH IS AVAILABLE TO YOU IF YOUR COMPUTER CAN HANDLE IT.
BY FRANKLYN WEPNER SEPTEMBER 1, 2006
HOW I WORK: GESTALT DREAMWORK AS THEATER AND PROPHECY
GESTALT DREAM WORK AS PREPARATION FOR PERFORMING
Since 1975 I have been using Gestalt work on awareness, dreams and personal relationships as a way to train and direct performers. The basic principle is simple. I use the Gestalt work to peel the onion of layer after layer of social cliches, ego games and unfinished personal business, and then I do the reverse process reconstituting the onion in the form of characters or other artist structures. The existential message of the dream becomes the superobjective or action of the tragedy, and then I build up the way the performer handles the characters and the plot around that.
My usual procedure is to begin the training with three Gestalt sessions, one on one. The first session, two hours long, deals with the three zones of awareness. During the first hour I simply let him relate what he aware of, since I want to know how he operates before I start meddling with his life. This is important since overall during the Gestalt sessions we are peeling the onion of cliches and games to get to authentic action, and later we will need all of those layers to rebuild the onion as characters involved in the unfolding action of a drama. We need his cliche and game layers for the beginning of the action in Act One as much as we need his authentic action at the end of the dramatic action for Acts Four and Five of a tragic drama.
During the second hour of the first Gestalt session on awareness I attempt to guide him towards a balance of the zones of awareness: outer zone awareness of the environment, inner zone awareness of his body, and fantasy zone awareness of his daydreams. The second and third Gestalt sessions are each three hours long, and each is a typical Gestalt dreamwork session as presented by Fritz Perls in Gestalt Therapy Verbatim. The performer tells the dream in the here and now, identifies with (play acts) several of the main images of the dream in dialogues with each other, and experiences the rhythm of contact and withdrawal. That is to say, after each major dialogue of polarized sides of himself (the contact part) he is instructed to close his eyes, enter his body awareness and daydream (the withdrawal phase of the rhythm).
Since my goal is theater as well as healing, whenever possible during the Gestalt dreamwork I encourage lots of expression using sound and movements. I work with a palette of about 200 different types of recorded musical excerpts, and whenever appropriate I ask him if that image or emotional state were part of a movie what sort of music might be the sound track. Then I find something close to that in my palette of musical colors and ask him to express the mood using the music along with his vocalizing and expressive movements. While he is doing the entire session I spend most of my time jotting down near verbatim notes and making stick figures of his poses and movements, since later in the work I will feed all this back to him and encourage him to explore using it as creative material for acting, dance or whatever his medium is. Taping the session is less useful, since then I would need to spend too much time replaying the tapes. Taking notes live forces me to sort out the wheat from the chaff very efficiently, even at the cost of not observing or notating every detail.
WORKING OUT FROM YOUR CENTERS
After the three introductory one on one Gestalt sessions, session number four is for feedback and discussion of the results. I show him in my notes and diagrams all of the stages of competed and uncompleted actions, and together we search for characters in the theater literature that have similar patterns of action. Is he a Hamlet type, or an Oedipus type, for example? In contrast to the usual practice in acting classes, his first acting assignment probably will be a monologue from a serious tragedy, since I want him to begin with a dramatic action with which he can identify totally. In this process he is using his major Gestalt moments as what Michael Chekhov in his book "To The Actor" labels "psychological gestures". Per
Youtube results:
1:22
"Detroit Tigers" "Kirk Gibson" World Series Home Run Off "Goose Gossage" "You Don't Wanna Walk Him!"
http://www.courtsidetweets.com Kirk Gibson of the Detroit Tigers hits his famous 1984 Worl...
published: 19 Sep 2012
author: CourtsideTweets
"Detroit Tigers" "Kirk Gibson" World Series Home Run Off "Goose Gossage" "You Don't Wanna Walk Him!"
"Detroit Tigers" "Kirk Gibson" World Series Home Run Off "Goose Gossage" "You Don't Wanna Walk Him!"
http://www.courtsidetweets.com Kirk Gibson of the Detroit Tigers hits his famous 1984 World Series home run off of Goose Gossage of the San Diego Padres. Man...- published: 19 Sep 2012
- views: 49125
- author: CourtsideTweets
179:46
1952 World Series, Game 7: Yankees @ Dodgers
New York Yankees 4 at Brooklyn Dodgers 2, F -- Gene Woodling and Mickey Mantle homered, an...
published: 17 Sep 2010
author: MLBClassics
1952 World Series, Game 7: Yankees @ Dodgers
1952 World Series, Game 7: Yankees @ Dodgers
New York Yankees 4 at Brooklyn Dodgers 2, F -- Gene Woodling and Mickey Mantle homered, and Billy Martin made a game-saving grab of an infield popup gone awr...- published: 17 Sep 2010
- views: 48887
- author: MLBClassics
6:13
1955 World Series Highlights | Brooklyn Dodgers vs New York Yankees
Highlights from the 1955 World Series which saw the Brooklyn Dodgers defeating the New Yor...
published: 26 Mar 2013
author: YamaMXS
1955 World Series Highlights | Brooklyn Dodgers vs New York Yankees
1955 World Series Highlights | Brooklyn Dodgers vs New York Yankees
Highlights from the 1955 World Series which saw the Brooklyn Dodgers defeating the New York Yankees in seven games. This is a legacy upload from my previous ...- published: 26 Mar 2013
- views: 2883
- author: YamaMXS
171:53
1964 World Series - Game 7 New York Yankees at St. Louis Cardinals
The 1964 World Series pitted the National League champion St. Louis Cardinals against the ...
published: 17 Aug 2013
1964 World Series - Game 7 New York Yankees at St. Louis Cardinals
1964 World Series - Game 7 New York Yankees at St. Louis Cardinals
The 1964 World Series pitted the National League champion St. Louis Cardinals against the American League champion New York Yankees, with the Cardinals prevailing in seven games. St. Louis won their seventh world championship, while the Yankees, who had appeared in 14 of 16 World Series since 1949, did not play in the Series again until 1976. In an unusual twist, the Yankees fired Yogi Berra after the Series ended, replacing him with Johnny Keane, who had resigned from the Cardinals after the Series. His job had been threatened by Cardinals management, and it was unexpectedly saved by the Cardinals' dramatic pennant drive.- published: 17 Aug 2013
- views: 11