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Aberdeen Asset Management Ladies Scottish Pro Womens Golf Open Welcome Party News
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Ponente 5ª Jornada Global Asset Management: Luis Amendola
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55:58
State of the City - The Decade of San Antonio: A Big City transforming into a Great City 1/28/10
Mayor Julián Castro presented his first State of the City Address on Thursday, January 28,...
published: 29 Jan 2010
author: Mayor Julián Castro
State of the City - The Decade of San Antonio: A Big City transforming into a Great City 1/28/10
Mayor Julián Castro presented his first State of the City Address on Thursday, January 28, 2010, and proclaimed San Antonio as a city on the move that will vault forward economically in the coming decade.
"This is the decade of San Antonio, the decade of our emergence as an economic powerhouse nationally and internationally," Castro said. "We'll get there by building up brainpower and opportunity, making vibrant our public spaces, and getting the fundamentals of city government right."
Mayor Castro told a record crowd of more than 900 business and community leaders that his administration will not hide from the city's most difficult issues, which include raising the educational attainment level of the local workforce and investing in the city's urban core.
"Great cities are defined by their downtowns. San Antonio must invest in downtown and make it a magnet for residents and visitors alike," Castro said. "In these next few years, we will put a new streetcar system on the ground, redevelop our beloved Hemisfair, and enhance our Riverwalk to breathe new life into our downtown."
On Jobs:
"The top priority for 2010 is creating jobs for San Antonians. Our city has fared better than most American communities during this downturn, but we must work to fare better. 20,000 net new jobs in 2010 is the goal."
Green Economy:
"We must embrace new economic opportunities. San Antonio can and should become a leader in the green economy by investing in green job training, incentivizing green manufacturing and leading the way in the use of renewables to meet our energy needs."
Transcript of Speech:
[ Applause ]
Thank you.
Thank you very much for that introduction, Carri. You've already shown in your short time wonderful leadership here at the Chamber. I want to thank you and Richard Perez and all the folks at the Chamber for your tremendous leadership in the city. I particularly enjoyed the opportunity to work with ya'll as we expand the Mentoring Matters initiatives, and make sure that most folks have had the opportunity to reach their dreams. And I want to thank all of ya'll for being here. Carri mentioned that there are over 900 folks here, and when they told me that yesterday, I thought that this event must have been billed as “C.P.S. Energy, Behind-the-Scenes.” [ Laughter ] Or something to draw folks here.
But really, I believe that there is tremendous energy here in San Antonio in 2010. I believe that 2010 marks the beginning of the decade of San Antonio. This is the decade that we will emerge as an economic powerhouse across the nation and across the world, a place that people are looking toward for leadership, a place that people are taking notice of, a place that is in perfect position to seize the opportunity of tomorrow. It has been my absolute privilege to serve as your mayor for the last seven months. These days have been exciting ones, they've been long ones, but they've been well worthwhile because of the work of many, many folks, a couple of which I'd like to just recognize right now.
The first is, and I'd like to ask them all to stand up, the best city council that we've had in years, our San Antonio city council, please, if you would, stand up. I see Councilwoman Cisneros, Councilwoman Taylor, Councilwoman Ramos, Councilman Cortez, Councilman Medina, Councilman Lopez, Councilman Rodriguez, Councilman Williams, Councilwoman Chan, and Councilman Clamp. Thank ya'll very much.
I was, of course, not in office for four years, and in that time we had one of the best mayors in America, Phil Hardberger, who did a wonderful job of laying out a vision and a foundation for us to build on, and I'd like to recognize him as well. Thank you very much, Mayor Hardberger, for being here.
[ Applause ]
Everybody says that we have the best city manager in America, and seven months ago I got a chance to start testing that for myself, and I got to tell you, it's the truth. Sheryl Sculley has done an absolutely wonderful job as city manager, and she's really, and I think that Phil would agree with this, she is the reason that we look so good being mayor. I hope she'll stand up and be recognized. Thank you very much, Sheryl, for your work.
[ Applause ]
I remember coming to a couple of chamber events over the last few years, and Nelson Wolff would always tell this joke about being -- I don't know whether it was him not being the old mayor anymore or the young mayor, or I guess being about the same age as Phil. These days I know that I'm the young mayor, and he's the older county judge but has been a terrific partner and collaborator and one of the reasons that our city does so well. Thank you very much, Nelson, for your leadership. I'd like to recognize you as well.
[ Applause ]
And then I want to recognize my own staff. I see many of them here from Robbie Greenblum who couldn’t be here today to Jaime Castillo, Frances Gonzalez, Jed Maebius. I see Christian Archer, Roland Garza, Sarah McLor
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
25:52
GESTALT - AWARENESS PART כותרות בעברית. גשטאלט - מודעות חלק 2 .HQ
HQ. GESTALT - AWARENESS PART גשטאלט - מודעות חלק 2
HEBREW SUBTITLES ADDED
כותרים בעברית
g...
published: 24 Aug 2011
author: franklyn wepner
GESTALT - AWARENESS PART כותרות בעברית. גשטאלט - מודעות חלק 2 .HQ
HQ. GESTALT - AWARENESS PART גשטאלט - מודעות חלק 2
HEBREW SUBTITLES ADDED
כותרים בעברית
gestalt therapy work on awareness with actress bel baca.
second part of "unguided awareness work", in which i
give bel feedback for the work she did in the first part.
part 3 begins the work on "guided awareness", where i closely supervise her work on awareness, and give instantaneous feedback as she goes along.
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: fwep@earthlink.net. 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
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