- published: 10 Aug 2012
- views: 3358
- author: RyuzakeroV1
2:01
Greater Middle East Project - Message to Anonymous from the International Bankers
To Anonymous, Message from the International Bankers (this video of course is a parody and...
published: 10 Aug 2012
author: RyuzakeroV1
Greater Middle East Project - Message to Anonymous from the International Bankers
Greater Middle East Project - Message to Anonymous from the International Bankers
To Anonymous, Message from the International Bankers (this video of course is a parody and the message was invented by the creator of this video but everythi...- published: 10 Aug 2012
- views: 3358
- author: RyuzakeroV1
42:14
F. William Engdahl on Greater Middle East Project
Frederick William Engdahl (born August 9, 1944) is an American German freelance journalist...
published: 17 Aug 2013
F. William Engdahl on Greater Middle East Project
F. William Engdahl on Greater Middle East Project
Frederick William Engdahl (born August 9, 1944) is an American German freelance journalist, historian and economic researcher. His first book was called A Century of War: Anglo-American Oil Politics and the New World Order, and discusses the alleged roles of Zbigniew Brzezinski and George Ball and of the USA in the 1979 overthrow of the Shah of Iran, which was meant to manipulate oil prices and to stop Soviet expansion. Engdahl claims that Brzezinski and Ball used the Islamic Balkanization model proposed by Bernard Lewis. In 2007, he completed Seeds of Destruction: The Hidden Agenda of Genetic Manipulation.- published: 17 Aug 2013
- views: 87
95:04
The U.S. and the Greater Middle East Election 2012: The National Security Agenda
The U.S. and the Greater Middle East Election 2012: The National Security Agenda On Tuesda...
published: 18 Jul 2012
author: NewAmericaFoundation
The U.S. and the Greater Middle East Election 2012: The National Security Agenda
The U.S. and the Greater Middle East Election 2012: The National Security Agenda
The U.S. and the Greater Middle East Election 2012: The National Security Agenda On Tuesday, July 17, the New America Foundation, the American Enterprise Ins...- published: 18 Jul 2012
- views: 694
- author: NewAmericaFoundation
1:04
Greater Middle East HOAX
Neo-cons and Zionist-manipulated U.S and Euro-zone governments have been undertaking this ...
published: 26 Jul 2013
author: Mohamed Gaber
Greater Middle East HOAX
Greater Middle East HOAX
Neo-cons and Zionist-manipulated U.S and Euro-zone governments have been undertaking this lunatic Jewish project called "the Greater Middle East". An amalgam...- published: 26 Jul 2013
- views: 36
- author: Mohamed Gaber
5:40
The Great Deception 2011 - English version (HD)
The Great Deception - الخداع الأكبر is a short video feature, about a number of questionab...
published: 03 Apr 2011
author: Anarchitext
The Great Deception 2011 - English version (HD)
The Great Deception 2011 - English version (HD)
The Great Deception - الخداع الأكبر is a short video feature, about a number of questionable connections & suspicious information relating to the Protests wh...- published: 03 Apr 2011
- views: 16815
- author: Anarchitext
48:25
Pakistan Elections and the Greater Middle East Initiative
The elections for the National and Provincial Assemblies in Pakistan have been heralded as...
published: 14 May 2013
author: TheVoiceOfTheUmmah
Pakistan Elections and the Greater Middle East Initiative
Pakistan Elections and the Greater Middle East Initiative
The elections for the National and Provincial Assemblies in Pakistan have been heralded as a historic milestone representing a victory for democracy since it...- published: 14 May 2013
- views: 618
- author: TheVoiceOfTheUmmah
3:16
What is the meaning of the greater Middle East project ?
What is the meaning of the greater Middle East project? Adnan Oktar's live talk on A9 TV w...
published: 15 Aug 2012
author: A9simultaneous
What is the meaning of the greater Middle East project ?
What is the meaning of the greater Middle East project ?
What is the meaning of the greater Middle East project? Adnan Oktar's live talk on A9 TV with simultaneous interpretation You can watch live interviews of Ad...- published: 15 Aug 2012
- views: 244
- author: A9simultaneous
8:47
Kenneth Pollack - A Transatlantic Strategy for the Greater Middle East
Kenneth Pollack, Director of Research and Senior Fellow, Saban Center for Middle East Poli...
published: 20 Jan 2009
author: aabonline
Kenneth Pollack - A Transatlantic Strategy for the Greater Middle East
Kenneth Pollack - A Transatlantic Strategy for the Greater Middle East
Kenneth Pollack, Director of Research and Senior Fellow, Saban Center for Middle East Policy, Brookings Institution explores the security and economic concer...- published: 20 Jan 2009
- views: 324
- author: aabonline
83:33
2008 Foreign Policy Symposium: The Greater Middle East
ORIGINALLY RECORDED September 3, 2008 Watch experts discuss U.S. foreign policy with regar...
published: 18 May 2011
author: cfr
2008 Foreign Policy Symposium: The Greater Middle East
2008 Foreign Policy Symposium: The Greater Middle East
ORIGINALLY RECORDED September 3, 2008 Watch experts discuss U.S. foreign policy with regard to the Middle East as part of a three-day symposium during the Re...- published: 18 May 2011
- views: 224
- author: cfr
1:09
Travel Book Review: Greater Middle East Region: Including Afghanistan, Pakistan, Libya and Turkey...
http://www.TravelBookMix.com This is the summary of Greater Middle East Region: Including ...
published: 12 Aug 2012
author: TravelBookMix
Travel Book Review: Greater Middle East Region: Including Afghanistan, Pakistan, Libya and Turkey...
Travel Book Review: Greater Middle East Region: Including Afghanistan, Pakistan, Libya and Turkey...
http://www.TravelBookMix.com This is the summary of Greater Middle East Region: Including Afghanistan, Pakistan, Libya and Turkey (Hammond Greater Middle Eas...- published: 12 Aug 2012
- views: 39
- author: TravelBookMix
3:24
NEW Middle East Map and IRAN - نقش ایران بزرگ در خاورمیانه
Iran-e Bozorg. Also known as Aryana or Ariana in the Hellenized form. Greater Khorasan, Kh...
published: 04 Aug 2012
author: ImperialGuardOf Shah
NEW Middle East Map and IRAN - نقش ایران بزرگ در خاورمیانه
NEW Middle East Map and IRAN - نقش ایران بزرگ در خاورمیانه
Iran-e Bozorg. Also known as Aryana or Ariana in the Hellenized form. Greater Khorasan, Khorasan-e Bozorg. Fars/Pars, Khorasan, Bactria-Balkh. Cyrus the Grea...- published: 04 Aug 2012
- views: 5264
- author: ImperialGuardOf Shah
2:11
Hillel Fradkin on "The Greater Middle East"
President-elect Obama faces serious geopolitical challenges in the Middle East, Central, a...
published: 14 Jan 2009
author: hudsoninstitute
Hillel Fradkin on "The Greater Middle East"
Hillel Fradkin on "The Greater Middle East"
President-elect Obama faces serious geopolitical challenges in the Middle East, Central, and South Asia—a region best described as the Greater Middle East. T...- published: 14 Jan 2009
- views: 251
- author: hudsoninstitute
3:31
URP3001 Spring 2012: The Greater Middle East
The Greater Middle East; Amman, Jordan By: Maude Leclerc, Samantha Jordan, Erin Lee, Melis...
published: 29 Feb 2012
author: maude1140
URP3001 Spring 2012: The Greater Middle East
URP3001 Spring 2012: The Greater Middle East
The Greater Middle East; Amman, Jordan By: Maude Leclerc, Samantha Jordan, Erin Lee, Melissa Justis, Garrett Keane, Mayela Landa, and Melissa Lanes.- published: 29 Feb 2012
- views: 160
- author: maude1140
61:06
Passing the Baton: Security and Political Reform in the Greater Middle East
On January 8, 2009, the United States Institute of Peace convened Passing the Baton 2009, ...
published: 22 Jan 2009
author: usinstituteofpeace
Passing the Baton: Security and Political Reform in the Greater Middle East
Passing the Baton: Security and Political Reform in the Greater Middle East
On January 8, 2009, the United States Institute of Peace convened Passing the Baton 2009, a remarkable full-day public conference that convened high-level, b...- published: 22 Jan 2009
- views: 99
- author: usinstituteofpeace
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
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
37:11
GESTALT WORK ON AWARENESS WITH BEL pt 2 (HQ)
second part of a two hour session on awarenesss with actress bel baca. this is the "guided...
published: 26 Dec 2010
author: franklyn wepner
GESTALT WORK ON AWARENESS WITH BEL pt 2 (HQ)
second part of a two hour session on awarenesss with actress bel baca. this is the "guided awareness" part of the exercise, since here i am giving lots of feedback immediately as things happen. in the "unguided" part i waited about 15 minutes before giving feedback. i continue this "guided" process in the 3rd and last part, the next video.
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
Youtube results:
100:52
Europe in the US Election Debate: are we Losing to Greater Middle East, Asia and Pacific?
The current US Administration released a new security document in January entitled "Sustai...
published: 21 Sep 2012
Europe in the US Election Debate: are we Losing to Greater Middle East, Asia and Pacific?
Europe in the US Election Debate: are we Losing to Greater Middle East, Asia and Pacific?
The current US Administration released a new security document in January entitled "Sustaining U.S. Global Leadership: Priorities For 21st Century Defence" i...- published: 21 Sep 2012
- views: 252
- author: LATO Latvian Transatlantic organisation
3:31
The beauty of the Greater Middle East
Greater Middle East....
published: 24 Sep 2012
author: TheGreaterMiddleEast
The beauty of the Greater Middle East
The beauty of the Greater Middle East
Greater Middle East.- published: 24 Sep 2012
- views: 58
- author: TheGreaterMiddleEast
2:19
BiffiSyrien | Greater Middle East Project - Message to Anonymous from the International Bankers
Webs Webseite: http://biffisyrien.webs.com
Blogs Webseite: http://biffisyrien.blogspot.de
...
published: 10 Oct 2013
BiffiSyrien | Greater Middle East Project - Message to Anonymous from the International Bankers
BiffiSyrien | Greater Middle East Project - Message to Anonymous from the International Bankers
Webs Webseite: http://biffisyrien.webs.com Blogs Webseite: http://biffisyrien.blogspot.de Wordpress Webseite: http://biffisyrien.wordpress.com Tumblr: http://biffisyrien.tumblr.com/ Vimeo: http://vimeo.com/biffisyrien Youtube: http://www.youtube.com/user/biffisyrien1 Youtube2: http://www.youtube.com/user/biffisyrien5 Youtube3: http://www.youtube.com/user/biffisyrien6 Youtube4: http://www.youtube.com/user/biffisyrien4 Veoh: http://www.veoh.com/users/BiffiSyrien Dailymotion: http://www.dailymotion.com/BiffiSyrien MyVideo: http://www.myvideo.de/mitglieder/Biffisyrien Clipfish: http://www.clipfish.de/user/biffisyrien Metacafe: http://www.metacafe.com/channels/biffisyrien Wenoo: http://www.wenoo.net/user/biffisyrien Twitter: https://twitter.com/BiffiSyrien Instagram: http://instagram.com/biffisyrien# Facebook-Gruppe: https://www.facebook.com/groups/254717637966968/?ref=ts&fref;=ts Facebook-Seite: http://goo.gl/6eRIYZ Hello Anonymous, We are the International Bankers. We destroyed Libya, stole its natural resources, gold reserves, and pocketed its frozen overseas assets. We chose the new Egyptian Presidency. No nation can break away from our control. All is well according to our "Greater Middle East Project" initiated by George W Bush junior, just after our Iraq intervention in 2003. The next step is to dismantle Syria's Assad Regime. We have invited Bassma Kodmani of the Syrian National Council to the Bilderberg conference this year to have her work as our new puppet. We also fund, infiltrate, and manipulate countless organizations, including Wikileaks, Amnesty International, and YOU, Anonymous! Recently Wikileaks released the "Syria file," that you supplied through Operation Syria. That is a good sign that our massive negative campaign against the regime by our Western media partners, such as BBC, Reuters, CNN and Al Jazeera is working quite well. We don't care about democracy. We don't care about freedom. We don't care about Bashar Al-Assad. We only care about our business interest, Money, Power and Control. You will continue to help us achieve our "Greater Middle East project" and we will bring Syria under our control. We are Bankers We are Bilderbergers We are the 1% Expect us to manipulate your mind Expect us to deceive your heart Expect us Italiano: Salve Anonymous, Noi siamo i Banchieri Internazionali. Noi abbiamo distrutto la Libia, rubato le sue risorse naturali, le sue riserve auree, e ci siamo intascati i suoi beni congelati all'estero. Noi abbiamo scelto la nuova presidenza egiziana. Nessuna nazione può staccarsi dal nostro controllo. Tutto sta andando secondo il nostro "Greater Middle East Project"iniziato da George W Bush Jr, appena dopo il nostro intervento in Iraq nel 2003. Il passo successivo è quello di demolire il regime di Assad in Siria. Abbiamo invitato Bassma Kodmani del Consiglio Nazionale Siriano alla conferenza Bilderberg di quest'anno perché è il nuovo fantoccio che lavora per noi. Noi finanziamo, infiltriamo e manipoliamo innumerevoli organizzazioni, tra cui Wikileaks, Amnesty International, e voi, Anonymous! Wikileaks ha recentemente pubblicato il "Syria file", che voi avete fornito attraverso l'Operazione Siria. Questo è un buon segno del fatto che la nostra massiccia campagna negativa contro il regime siriano, da parte dei nostri partner dei media occidentali, come BBC, Reuters, CNN e Al Jazeera sta funzionando abbastanza bene. Non ci interessa la democrazia. Non ci interessa la libertà. Non ci interessa di Bashar Al-Assad. A noi interessano solamente i nostri affari, il denaro, il potere ed il controllo. Voi continuerete ad aiutarci a raggiungere il nostro Grande Medio Oriente progetto" e porteremo la Siria sotto il nostro controllo. Noi siamo i banchieri Noi siamo membri del Bilderberg Noi siamo l'1% Aspettatevi che noi manipoliamo le vostri menti Aspettatevi che noi inganniamo i vostri cuori Aspettateci- published: 10 Oct 2013
- views: 24
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Homosexuality in Jordan: exploring one of the great social taboos of Middle Eastern society
The topic of homosexuality is at least tolerated in Jordan above the whispers it's relegat...
published: 19 Jan 2013
author: JewishNewsOne
Homosexuality in Jordan: exploring one of the great social taboos of Middle Eastern society
Homosexuality in Jordan: exploring one of the great social taboos of Middle Eastern society
The topic of homosexuality is at least tolerated in Jordan above the whispers it's relegated to elsewhere in the Middle East, being openly homosexual is not ...- published: 19 Jan 2013
- views: 2514
- author: JewishNewsOne