- published: 15 Dec 2014
- views: 371
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The Odyssey [FULL AUDIOBOOK] PART 2 of 2
The Odyssey (/ˈɒdəsi/; Greek: Ὀδύσσεια, Odýsseia) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly centers on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War. In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read.[2] The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and serfs, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta, but in one source was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets).
Second AMV for SakuraCon 2014. This is the first time I've made a Romance/Emotional/NON-ACTION AMV. I loved the short Paperman and this anime makes me cry. I think it came out well.
Anime - Clannad and Clannad: After Story
Song - Paperman
Artist - Christophe Beck
Enjoy.
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THIS VIDEO IS STRICTLY FAN-MADE AND NON-PROFIT! I DO NOT OWN NOR DO I CLAIM TO OWN ANY OF THE AUDIO OR VIDEO CONTENT USED IN THIS VID! ALL RIGHTS TO RESPECTIVE OWNERS!
"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."
- published: 19 Feb 2014
- views: 297
Time is An Illusion | The Flow of Time is an Illusion
The quantum universe is static. Nothing happens; there is being but no becoming. The flow of time and motion are illusions.
-Julian Barbour "The Nature of Time"
Forever - is composed of Nows-
'Tis not a different time-
Except for Infiniteness-
And Latitude of Home-
From "Forever - is composed of Nows" by Emily Dickinson
"Time isn't precious at all, because it is an illusion. What you perceive as precious is not time but the one point that is out time: the Now."
-Eckhardt Tolle, "The Power of Now: A Guide to Spiritual Enlightenment."
"My basic idea is that time as such does not exist. There is no invisible river of time. But there are things that you could call instants of time, or 'Nows.' As we live, we seem to move through a succession of Nows."
-Julian Barbour in an interview with edge.org
Time is An Illusion - https://www.youtube.com/watch?v=wanIm7yFOdg
https://www.eckharttolle.com/
http://www.platonia.com/ Julian Barbour's official website
http://www.poets.org/poetsorg/poet/emily-dickinson
http://arxiv.org/pdf/0903.3489.pdf
- published: 28 May 2015
- views: 286
The TEDxPalermo's Talk by the Indian poet, writer and dancer Tishani Doshi was in the middle of a rainy April30th. The location due to bad weather was changed at the very last minute and studio427 were welcoming our event. The Time is the focus of the Talk. She explain us that there are many kinds of time, there is cosmic time, cyclic time, linear time, calendar time, day time, night time, work time, dream time, permanent time and impermanent time and we understand that time is a strange thing because sometimes a day can feel like a lifetime and sometimes a lifetime can feel like a dream. The obsession has to do with an age which is incredible fast, she explain us something about slowness we are almost losing. She shows us her dance work, just one production in 10 years, as a performance done with the Chandralekha's troupe (which by the way also performed in Palermo once) and tells us that Slowness has the only Luxury we have been left in our time.
Tishani was born and lives in Madras, India. Being the product of two cultures (Gujarati and Welsh), and the middle of three children. At 18 she left India for the US to study Business Administration at Queens College in Charlotte, North Carolina. During her undergraduate years she worked as a baby-sitter, house-cleaner, librarian and cashier in the student's snack bar. Shei moved to London in 1999 and landed her first and last fulltime job as the assistant to the advertising department at Harper's & Queen magazine. In 2001 Tishani moved back to India and at 26, she began a career as a dancer. For the next five years she performed with Chandralekha's troupe in India and abroad. She also worked as a freelance journalist, tinkered with poems and began working on a novel. In 2006, she won the All-India Poetry competition for her poem, "The Day We Went to the Sea." Tishani published her debut collection of poetry, Countries of the Body, to critical acclaim in 2006. The book won the prestigious Forward Prize for Best First Collection. Tishani's first novel, The Pleasure Seekers, is published by Bloomsbury in the UK and USA, and Penguin India. It is currently being translated into German, Spanish, Italian, French, Serbian, Croatian and Polish.
In the spirit of "ideas worth spreading", TED has created a program called TEDx, of local events, organized independently, that bring people together to share an experience similar to the one you live with TED. The TED Conference provides general guidance for all the TEDx events, but local events are made independently.
http://www.tedxpalermo.com
- published: 13 May 2011
- views: 7775
Algorithm Series
----------------------------
This tutorial explains Error detection and correction using Hamming code in the simplified way.
Please share your valuable feedback. For more technical videos subscribe this channel.
- published: 14 Feb 2017
- views: 192
Digital Download
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Album 2x12"
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CD version
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➤ http://www.saturn.de/de/product/_mihai-popoviciu-home-electronica-dance-cd-2133744.html
Bondage-Music:
http://www.bondage-music.com
https://www.facebook.com/BondageRecords/
https://soundcloud.com/bondage-music
Mihai Popoviciu:
https://www.facebook.com/mihaipopoviciu1
https://soundcloud.com/mihai-popoviciu-1
- published: 08 Jul 2016
- views: 1876
Premiere: Mihai Popoviciu - Focus (Original Mix)
BUY: http://www.deejay.de/BOND12038_-_Mihai_Popoviciu_-_Home_-_2x12inch__225602
Cyclic records boss Mihai Popoviciu has been literally on fire lately delivering a super-consistent flow of deep and somewhat minimal releases and remixes.
His new album Home is out May 4th 2016 on Bondage Music and already getting plays and support by Nicole Moudaber, Audiojack, Ralph Lawson, Anja Schneider, Francesca Lombardo and Sidney Charles.
Track list:
1. Mihai Popoviciu - Focus
2. Mihai Popoviciu - ACK
3. Mihai Popoviciu - Music 999
4. Mihai Popoviciu - Cannon Poets
5. Mihai Popoviciu - Hypnosia
6. Mihai Popoviciu - Sunshine
7. Mihai Popoviciu - Havana
8. Mihai Popoviciu - Data On Data
9. Mihai Popoviciu - Triumph
10. Mihai Popoviciu - Tentacle Operated
11. Mihai Popoviciu - Sandstone Folder
12. Mihai Popoviciu - Paranoia
- published: 04 May 2016
- views: 15089
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin translations. Chapman's translation has been admired by many, including John Keats and others. Many of these stories are familiar to us, Ulysses and the Sirens, Circe turning his crew to swine, their escape from the Cyclops on the bellies of his sheep, but Chapman's version includes violent episodes and suggestive innuendo that I don't recall from my childhood days. (Introduction by Fritz)
Genre(s): Classics (Antiquity), Epics
Language: English
Librivox
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[3] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). wikipedia
- published: 07 Jun 2016
- views: 14
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin translations. Chapman's translation has been admired by many, including John Keats and others. Many of these stories are familiar to us, Ulysses and the Sirens, Circe turning his crew to swine, their escape from the Cyclops on the bellies of his sheep, but Chapman's version includes violent episodes and suggestive innuendo that I don't recall from my childhood days. (Introduction by Fritz)
Genre(s): Classics (Antiquity), Epics
Language: English
Librivox
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[3] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). wikipedia
- published: 07 Jun 2016
- views: 8
Musician: Sub Luna
Album: Awake!
Official FB Page:
http://www.facebook.com/subluna
Myspace:
http://www.myspace.com/subluna
http://www.reverbnation.com/subluna
http://www.cycliclaw.com/
Sub Luna was formed in Eskilstuna, Sweden in 2004 by Mikael Lindblom and Fredrik Sööberg. That same year their self-released EP "I" caught the attention of Portuguese label Dagaz Music which went on to release Sub Luna's debut album "In the Shade of Time" in 2006. After having signed with Canadian label Cyclic Law - 2010 brought the release of their second album "Awake!". Since summer 2010 Mikael Lindblom is the only permanent member of Sub Luna.
- published: 02 Feb 2011
- views: 1756
Silsila — Arabic for ‘chain’ or ‘link’— is a multi-media installation depicting Alshaibi’s three-year cyclic journey through the significant deserts and endangered water sources of the Middle East and North African region and across to the bountiful waters the Maldives. By linking the performances in the deserts and waters of the historical Islamic world with the nomadic traditions of the region, and the travel journals of the great 14th century Eastern explorer, Ibn Battuta, Alshaibi seeks to unearth a story of continuity within the context of a threatened future. Silsila takes its inspiration from the Sufi poet Assadi Ali, who began each line of his poems, “I, the Desert”. An excerpt from his poem calls for us to recognize our common identity: “the grains of my sand rush in asking / begging You [Allah] to keep my descendents / and nation united”. Silsila is a story of a shared history and soon to be written future — the tales of the climate refugee and its geographic voice, and our search for connection with each other as interdependent peoples and nations plagued by an unthinkable future.
Courtesy of Ayyam Gallery
Music composed by Grey Filastine,
featuring Brent Arnold (cello) and Abdel Hak (violin)
- published: 13 Jun 2013
- views: 543
Ophelia's Gaze (2008) - a chamber opera
music, live audio and video, staging - Steve EVERETT
text - Bellocq's Ophelia (Graywolf Press, 2002) - Natasha TRETHEWEY
soprano - Katherine BLUMENTHAL
strings - VEGA QUARTET
video "Shiver" - Isabelle DEHAY
costume and stage design - Leslie TAYLOR
Scenes
1. Bellocq’s Ophelia voice, speaker (N. Trethewey), digital audio
2. Letter Home - voice, quartet, digital audio
3. Letters from Storyville: December 1910 - speaker, digital audio
4. Countess P’s Advice - voice, quartet
5. February 1911, Spectrum - speaker, digital audio
6. March, 1911 - speaker, quartet
7. Bellocq - speaker, digital audio
8. Vignette - voice, cello, live motion capture video
9. Shiver - voice, digital audio, video
10. (Self) Portrait, Postcard - speaker, digital audio
Notes - This is a monodrama structured as a reverie on Ophelia, the young girl portrayed in Emory poet, Natasha Trethewey’s collection, Bellocq’s Ophelia. The set of poems was written as a narrative sequence and contains the imagined thoughts and perceptions of one of the young prostitutes photographed by E. J. Bellocq in 1912 who worked in a brothel in the Storyville section of New Orleans. The aural-visual relationships in my composition will unfold as a series of tableau using the consciousness of dreams, memories, and reveries described in French philosopher Gaston Bachelard’s last work, La Poétique de la Réverie (1960).
The text is sung and spoken by a soprano/narrator who encounters multiple reflections of her own image and the environment in which she exists or imagines. She interacts musically with the string quartet members and visually with her own images reflected in video “mirrors.” Video cameras and microphones are used to transform her visual identity and voice through interactive computer-processing programs. Technology used in the performance include MaxMSP live music processing environment, a hemispherical audio speaker array, and an interactive video motion capture system developed for this production. This video system consists of infrared light, motion-capture hardware combined with the Eyecon Motion Sensing software and Isadora Graphic Programming Environment.
Biographies
Steve Everett, composer
Steve Everett is Professor of Music and teaches composition, computer music, and directs the Music-Audio Research Center at Emory University. In addition he has recently been a visiting professor of composition at Princeton University, Eastman School of Music, Conservatoire National Supérieur de Musique de Paris, the Conservatoire de Musique de Genève in Switzerland, Rotterdam Conservatory of Music, and Utrecht School of the Arts. Many of his recent compositions involve performers with computer-controlled electronics and have been performed in seventeen different countries throughout Europe, Asia, and North America, including at IRCAM and INA-GRM Radio France in Paris, Orgelpark in Amsterdam, The Esplanade in Singapore, University of Göteborg-Sweden, Korea Computer Music Festival in Seoul, Royal Northern College of Music in England, Amerika Haus in Cologne-Germany, Tokyo Denki University, and Lincoln Center, Carnegie Hall, and Merkin Hall in New York. Composition awards have been received from the Rockefeller Foundation, Asian Cultural Council, Chamber Music America, American Composers Forum, and International Trumpet Guild. He is recorded on SCI, Crystal, Mark, Frog Peak and ACA Digital Records. He has been a resident research fellow at the Rockefeller Study Center in Bellagio, Italy, Liguria Foundation in Bogliasco, Italy, and at the Center for Humanistic Inquiry at Emory University. In 1998 he received the Mayor’s Fellowship in the Arts, awarded by the City of Atlanta, the city’s highest recognition of artistic achievement. In addition to substantial experience conducting opera and orchestral repertoire, he has presented over 200 works of contemporary music as conductor of Thamyris New Music Ensemble in Atlanta since 1992. His doctoral degree in composition is from the University of Illinois studying with Salvatore Martirano. He also studied composition with Sir Peter Maxwell Davies and Witold Lutoslawski at Dartington Hall in England and has received foundation support for music study in Bali, Java, and India. He served as chair of the Department of Music and interim director of the Center for Humanistic Inquiry at Emory University.
Leslie Taylor, stage designer
Leslie Taylor, the inaugural director of the Center for Creativity & Arts in Emory College, has extensive experience in teaching, design and management. She has designed sets and costumes for over 100 productions. Currently Chair of the Theater Studies Program at Emory University, she also served as the Artistic Director for Theater Emory's 2000-2001 season. She is the resident designer for Theater Emory, and has designed for the GA Shakespeare, the Center for Puppetry Arts, the Alliance Theater, Georgia Ensemble Theater, and Theatri
- published: 27 Dec 2008
- views: 2353
Cyclic Poets
Cyclic Poets is a shorthand term for the early Greek epic poets, approximate contemporaries of Homer. We know no more about these poets than we know about Homer, but modern scholars regard them as having composed orally, as did Homer. In the classical period, surviving early epic poems were ascribed to these authors, just as the Iliad and Odyssey were ascribed to Homer. Together with Homer, whose Iliad covers a mere 50 days of the war, they cover the complete war "cycle", thus the name. Most modern scholars place Homer in the 8th century BC. The other poets listed below seemed to have lived in the 7th–5th centuries BC. Excluding Homer's, none of the works of the cyclic poets survive.
List of named poets
This page contains text from Wikipedia, the Free Encyclopedia -
https://wn.com/Cyclic_Poets
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
Gestalt
Gestalt, a German word for form or shape, may refer to:
Psychology
Other uses
This page contains text from Wikipedia, the Free Encyclopedia -
https://wn.com/Gestalt
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
Odyssey
The Odyssey (/ˈɒdəsi/;Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War. In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter. Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and serfs, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
This page contains text from Wikipedia, the Free Encyclopedia -
https://wn.com/Odyssey
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
Greek
Greek may refer to:
Greece
Anything of, from, or related to Greece, a country in Southern Europe:
- Proto-Greek language, the assumed last common ancestor of all known varieties of Greek
- Mycenaean Greek language, most ancient attested form of the language (16th to 11th centuries BC)
- Ancient Greek, forms of the language used c. 1000–330 BC
- Koine Greek, common form of Greek spoken and written during Classical antiquity
- Medieval Greek or Byzantine Greek, language used between the Middle Ages and the Ottoman conquest of Constantinople
- Modern Greek, varieties spoken in the modern era (from 1453 AD)
This page contains text from Wikipedia, the Free Encyclopedia -
https://wn.com/Greek
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
Gestalt therapy
Gestalt therapy is an existential/experiential form of psychotherapy that emphasizes personal responsibility, and that focuses upon the individual's experience in the present moment, the therapist–client relationship, the environmental and social contexts of a person's life, and the self-regulating adjustments people make as a result of their overall situation.
Gestalt therapy was developed by Fritz Perls, Laura Perls and Paul Goodman in the 1940s and 1950s.
Overview
Edwin Nevis described Gestalt therapy as "a conceptual and methodological base from which helping professionals can craft their practice". In the same volume, Joel Latner stated that Gestalt therapy is built upon two central ideas: that the most helpful focus of psychotherapy is the experiential present moment, and that everyone is caught in webs of relationships; thus, it is only possible to know ourselves against the background of our relationships to others. The historical development of Gestalt therapy (described below) discloses the influences that generated these two ideas. Expanded, they support the four chief theoretical constructs (explained in the theory and practice section) that comprise Gestalt theory, and that guide the practice and application of Gestalt therapy.
This page contains text from Wikipedia, the Free Encyclopedia -
https://wn.com/Gestalt_therapy
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
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6:12:39The Odyssey [FULL AUDIOBOOK] PART 2 of 2
The Odyssey [FULL AUDIOBOOK] PART 2 of 2The Odyssey [FULL AUDIOBOOK] PART 2 of 2
The Odyssey [FULL AUDIOBOOK] PART 2 of 2 The Odyssey (/ˈɒdəsi/; Greek: Ὀδύσσεια, Odýsseia) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia. The poem mainly centers on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War. In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage. It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read.[2] The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and serfs, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage. The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta, but in one source was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). -
5:18A Cyclic Life - Clannad AMV (Paperman)
A Cyclic Life - Clannad AMV (Paperman)A Cyclic Life - Clannad AMV (Paperman)
Second AMV for SakuraCon 2014. This is the first time I've made a Romance/Emotional/NON-ACTION AMV. I loved the short Paperman and this anime makes me cry. I think it came out well. Anime - Clannad and Clannad: After Story Song - Paperman Artist - Christophe Beck Enjoy. -------------------------------------------------------------------- THIS VIDEO IS STRICTLY FAN-MADE AND NON-PROFIT! I DO NOT OWN NOR DO I CLAIM TO OWN ANY OF THE AUDIO OR VIDEO CONTENT USED IN THIS VID! ALL RIGHTS TO RESPECTIVE OWNERS! "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use." -
1:51Time is An Illusion | The Flow of Time is an Illusion
Time is An Illusion | The Flow of Time is an IllusionTime is An Illusion | The Flow of Time is an Illusion
Time is An Illusion | The Flow of Time is an Illusion The quantum universe is static. Nothing happens; there is being but no becoming. The flow of time and motion are illusions. -Julian Barbour "The Nature of Time" Forever - is composed of Nows- 'Tis not a different time- Except for Infiniteness- And Latitude of Home- From "Forever - is composed of Nows" by Emily Dickinson "Time isn't precious at all, because it is an illusion. What you perceive as precious is not time but the one point that is out time: the Now." -Eckhardt Tolle, "The Power of Now: A Guide to Spiritual Enlightenment." "My basic idea is that time as such does not exist. There is no invisible river of time. But there are things that you could call instants of time, or 'Nows.' As we live, we seem to move through a succession of Nows." -Julian Barbour in an interview with edge.org Time is An Illusion - https://www.youtube.com/watch?v=wanIm7yFOdg https://www.eckharttolle.com/ http://www.platonia.com/ Julian Barbour's official website http://www.poets.org/poetsorg/poet/emily-dickinson http://arxiv.org/pdf/0903.3489.pdf -
11:59TEDxPalermo - Tishani Doshi - The Luxury of Slowness
TEDxPalermo - Tishani Doshi - The Luxury of SlownessTEDxPalermo - Tishani Doshi - The Luxury of Slowness
The TEDxPalermo's Talk by the Indian poet, writer and dancer Tishani Doshi was in the middle of a rainy April30th. The location due to bad weather was changed at the very last minute and studio427 were welcoming our event. The Time is the focus of the Talk. She explain us that there are many kinds of time, there is cosmic time, cyclic time, linear time, calendar time, day time, night time, work time, dream time, permanent time and impermanent time and we understand that time is a strange thing because sometimes a day can feel like a lifetime and sometimes a lifetime can feel like a dream. The obsession has to do with an age which is incredible fast, she explain us something about slowness we are almost losing. She shows us her dance work, just one production in 10 years, as a performance done with the Chandralekha's troupe (which by the way also performed in Palermo once) and tells us that Slowness has the only Luxury we have been left in our time. Tishani was born and lives in Madras, India. Being the product of two cultures (Gujarati and Welsh), and the middle of three children. At 18 she left India for the US to study Business Administration at Queens College in Charlotte, North Carolina. During her undergraduate years she worked as a baby-sitter, house-cleaner, librarian and cashier in the student's snack bar. Shei moved to London in 1999 and landed her first and last fulltime job as the assistant to the advertising department at Harper's & Queen magazine. In 2001 Tishani moved back to India and at 26, she began a career as a dancer. For the next five years she performed with Chandralekha's troupe in India and abroad. She also worked as a freelance journalist, tinkered with poems and began working on a novel. In 2006, she won the All-India Poetry competition for her poem, "The Day We Went to the Sea." Tishani published her debut collection of poetry, Countries of the Body, to critical acclaim in 2006. The book won the prestigious Forward Prize for Best First Collection. Tishani's first novel, The Pleasure Seekers, is published by Bloomsbury in the UK and USA, and Penguin India. It is currently being translated into German, Spanish, Italian, French, Serbian, Croatian and Polish. In the spirit of "ideas worth spreading", TED has created a program called TEDx, of local events, organized independently, that bring people together to share an experience similar to the one you live with TED. The TED Conference provides general guidance for all the TEDx events, but local events are made independently. http://www.tedxpalermo.com -
13:30Error Detection and Correction using Hamming code - Simplified with Animation
Error Detection and Correction using Hamming code - Simplified with AnimationError Detection and Correction using Hamming code - Simplified with Animation
Algorithm Series ---------------------------- This tutorial explains Error detection and correction using Hamming code in the simplified way. Please share your valuable feedback. For more technical videos subscribe this channel. -
7:26Mihai Popoviciu - Cannon Poets - "Home LP" (BOND12038)
Mihai Popoviciu - Cannon Poets - "Home LP" (BOND12038)Mihai Popoviciu - Cannon Poets - "Home LP" (BOND12038)
Digital Download ➤ http://classic.beatport.com/release/home/1768021 Album 2x12" ➤ http://www.decks.de/t/mihai_popoviciu-home/c74-8e ➤ http://www.deejay.de/BOND12038_-_Mihai_Popoviciu_-_Home_-_2x12inch__225602 ➤ http://www.juno.co.uk/products/mihai-popoviciu-home/612392-01 Premium Edition 2x12" + mixed CD version ➤ http://www.decks.de/t/mihai_popoviciu-home/c7a-ry ➤ http://www.deejay.de/BOND12038SP_-_Mihai_Popoviciu_-_Home_-_2x12inch__229423 ➤ http://www.juno.co.uk/products/mihai-popoviciu-home/609162-01 CD version ➤ http://www.jpc.de/jpcng/poprock/detail/-/art/mihai-popoviciu-home/hnum/2994053 ➤ http://www.amazon.de/Home-Mihai-Popoviciu/dp/B01EZAWTVI/ref=sr_1_1?ie=UTF8&qid;=1464811622&sr;=8-1&keywords;=mihai+popoviciu ➤ http://www.saturn.de/de/product/_mihai-popoviciu-home-electronica-dance-cd-2133744.html Bondage-Music: http://www.bondage-music.com https://www.facebook.com/BondageRecords/ https://soundcloud.com/bondage-music Mihai Popoviciu: https://www.facebook.com/mihaipopoviciu1 https://soundcloud.com/mihai-popoviciu-1 -
7:18Mihai Popoviciu - Focus [Bondage Music]
Mihai Popoviciu - Focus [Bondage Music]Mihai Popoviciu - Focus [Bondage Music]
Premiere: Mihai Popoviciu - Focus (Original Mix) BUY: http://www.deejay.de/BOND12038_-_Mihai_Popoviciu_-_Home_-_2x12inch__225602 Cyclic records boss Mihai Popoviciu has been literally on fire lately delivering a super-consistent flow of deep and somewhat minimal releases and remixes. His new album Home is out May 4th 2016 on Bondage Music and already getting plays and support by Nicole Moudaber, Audiojack, Ralph Lawson, Anja Schneider, Francesca Lombardo and Sidney Charles. Track list: 1. Mihai Popoviciu - Focus 2. Mihai Popoviciu - ACK 3. Mihai Popoviciu - Music 999 4. Mihai Popoviciu - Cannon Poets 5. Mihai Popoviciu - Hypnosia 6. Mihai Popoviciu - Sunshine 7. Mihai Popoviciu - Havana 8. Mihai Popoviciu - Data On Data 9. Mihai Popoviciu - Triumph 10. Mihai Popoviciu - Tentacle Operated 11. Mihai Popoviciu - Sandstone Folder 12. Mihai Popoviciu - Paranoia -
2:33:31Odysseys of Homer chapter 12 to 14 Audiobook
Odysseys of Homer chapter 12 to 14 AudiobookOdysseys of Homer chapter 12 to 14 Audiobook
The Odysseys of Homer by Homer HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634) The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin translations. Chapman's translation has been admired by many, including John Keats and others. Many of these stories are familiar to us, Ulysses and the Sirens, Circe turning his crew to swine, their escape from the Cyclops on the bellies of his sheep, but Chapman's version includes violent episodes and suggestive innuendo that I don't recall from my childhood days. (Introduction by Fritz) Genre(s): Classics (Antiquity), Epics Language: English Librivox The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia. The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[3] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage. It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage. The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). wikipedia -
41:00Odysseys of Homer Chapter 15 Audiobook
Odysseys of Homer Chapter 15 AudiobookOdysseys of Homer Chapter 15 Audiobook
The Odysseys of Homer by Homer HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634) The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin translations. Chapman's translation has been admired by many, including John Keats and others. Many of these stories are familiar to us, Ulysses and the Sirens, Circe turning his crew to swine, their escape from the Cyclops on the bellies of his sheep, but Chapman's version includes violent episodes and suggestive innuendo that I don't recall from my childhood days. (Introduction by Fritz) Genre(s): Classics (Antiquity), Epics Language: English Librivox The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia. The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[3] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage. It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage. The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). wikipedia -
5:15Sub Luna- Nightfall
Sub Luna- NightfallSub Luna- Nightfall
Musician: Sub Luna Album: Awake! Official FB Page: http://www.facebook.com/subluna Myspace: http://www.myspace.com/subluna http://www.reverbnation.com/subluna http://www.cycliclaw.com/ Sub Luna was formed in Eskilstuna, Sweden in 2004 by Mikael Lindblom and Fredrik Sööberg. That same year their self-released EP "I" caught the attention of Portuguese label Dagaz Music which went on to release Sub Luna's debut album "In the Shade of Time" in 2006. After having signed with Canadian label Cyclic Law - 2010 brought the release of their second album "Awake!". Since summer 2010 Mikael Lindblom is the only permanent member of Sub Luna. -
3:57Silsila - (documentation at Venice Biennale)
Silsila - (documentation at Venice Biennale)Silsila - (documentation at Venice Biennale)
Silsila — Arabic for ‘chain’ or ‘link’— is a multi-media installation depicting Alshaibi’s three-year cyclic journey through the significant deserts and endangered water sources of the Middle East and North African region and across to the bountiful waters the Maldives. By linking the performances in the deserts and waters of the historical Islamic world with the nomadic traditions of the region, and the travel journals of the great 14th century Eastern explorer, Ibn Battuta, Alshaibi seeks to unearth a story of continuity within the context of a threatened future. Silsila takes its inspiration from the Sufi poet Assadi Ali, who began each line of his poems, “I, the Desert”. An excerpt from his poem calls for us to recognize our common identity: “the grains of my sand rush in asking / begging You [Allah] to keep my descendents / and nation united”. Silsila is a story of a shared history and soon to be written future — the tales of the climate refugee and its geographic voice, and our search for connection with each other as interdependent peoples and nations plagued by an unthinkable future. Courtesy of Ayyam Gallery Music composed by Grey Filastine, featuring Brent Arnold (cello) and Abdel Hak (violin) -
1:04:06Ophelia's Gaze - a chamber opera
Ophelia's Gaze - a chamber operaOphelia's Gaze - a chamber opera
Ophelia's Gaze (2008) - a chamber opera music, live audio and video, staging - Steve EVERETT text - Bellocq's Ophelia (Graywolf Press, 2002) - Natasha TRETHEWEY soprano - Katherine BLUMENTHAL strings - VEGA QUARTET video "Shiver" - Isabelle DEHAY costume and stage design - Leslie TAYLOR Scenes 1. Bellocq’s Ophelia voice, speaker (N. Trethewey), digital audio 2. Letter Home - voice, quartet, digital audio 3. Letters from Storyville: December 1910 - speaker, digital audio 4. Countess P’s Advice - voice, quartet 5. February 1911, Spectrum - speaker, digital audio 6. March, 1911 - speaker, quartet 7. Bellocq - speaker, digital audio 8. Vignette - voice, cello, live motion capture video 9. Shiver - voice, digital audio, video 10. (Self) Portrait, Postcard - speaker, digital audio Notes - This is a monodrama structured as a reverie on Ophelia, the young girl portrayed in Emory poet, Natasha Trethewey’s collection, Bellocq’s Ophelia. The set of poems was written as a narrative sequence and contains the imagined thoughts and perceptions of one of the young prostitutes photographed by E. J. Bellocq in 1912 who worked in a brothel in the Storyville section of New Orleans. The aural-visual relationships in my composition will unfold as a series of tableau using the consciousness of dreams, memories, and reveries described in French philosopher Gaston Bachelard’s last work, La Poétique de la Réverie (1960). The text is sung and spoken by a soprano/narrator who encounters multiple reflections of her own image and the environment in which she exists or imagines. She interacts musically with the string quartet members and visually with her own images reflected in video “mirrors.” Video cameras and microphones are used to transform her visual identity and voice through interactive computer-processing programs. Technology used in the performance include MaxMSP live music processing environment, a hemispherical audio speaker array, and an interactive video motion capture system developed for this production. This video system consists of infrared light, motion-capture hardware combined with the Eyecon Motion Sensing software and Isadora Graphic Programming Environment. Biographies Steve Everett, composer Steve Everett is Professor of Music and teaches composition, computer music, and directs the Music-Audio Research Center at Emory University. In addition he has recently been a visiting professor of composition at Princeton University, Eastman School of Music, Conservatoire National Supérieur de Musique de Paris, the Conservatoire de Musique de Genève in Switzerland, Rotterdam Conservatory of Music, and Utrecht School of the Arts. Many of his recent compositions involve performers with computer-controlled electronics and have been performed in seventeen different countries throughout Europe, Asia, and North America, including at IRCAM and INA-GRM Radio France in Paris, Orgelpark in Amsterdam, The Esplanade in Singapore, University of Göteborg-Sweden, Korea Computer Music Festival in Seoul, Royal Northern College of Music in England, Amerika Haus in Cologne-Germany, Tokyo Denki University, and Lincoln Center, Carnegie Hall, and Merkin Hall in New York. Composition awards have been received from the Rockefeller Foundation, Asian Cultural Council, Chamber Music America, American Composers Forum, and International Trumpet Guild. He is recorded on SCI, Crystal, Mark, Frog Peak and ACA Digital Records. He has been a resident research fellow at the Rockefeller Study Center in Bellagio, Italy, Liguria Foundation in Bogliasco, Italy, and at the Center for Humanistic Inquiry at Emory University. In 1998 he received the Mayor’s Fellowship in the Arts, awarded by the City of Atlanta, the city’s highest recognition of artistic achievement. In addition to substantial experience conducting opera and orchestral repertoire, he has presented over 200 works of contemporary music as conductor of Thamyris New Music Ensemble in Atlanta since 1992. His doctoral degree in composition is from the University of Illinois studying with Salvatore Martirano. He also studied composition with Sir Peter Maxwell Davies and Witold Lutoslawski at Dartington Hall in England and has received foundation support for music study in Bali, Java, and India. He served as chair of the Department of Music and interim director of the Center for Humanistic Inquiry at Emory University. Leslie Taylor, stage designer Leslie Taylor, the inaugural director of the Center for Creativity & Arts in Emory College, has extensive experience in teaching, design and management. She has designed sets and costumes for over 100 productions. Currently Chair of the Theater Studies Program at Emory University, she also served as the Artistic Director for Theater Emory's 2000-2001 season. She is the resident designer for Theater Emory, and has designed for the GA Shakespeare, the Center for Puppetry Arts, the Alliance Theater, Georgia Ensemble Theater, and Theatri -
16:19GESTALT WORK ON AWARENESS (HQ) - PART גשטאלט - מודעות - חלק 1
GESTALT WORK ON AWARENESS (HQ) - PART גשטאלט - מודעות - חלק 1GESTALT 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 -
29:21GESTALT WORK ON AWARENESS WITH BEL part 3 (HQ)
GESTALT WORK ON AWARENESS WITH BEL part 3 (HQ)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
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The Odyssey [FULL AUDIOBOOK] PART 2 of 2
The Odyssey [FULL AUDIOBOOK] PART 2 of 2 The Odyssey (/ˈɒdəsi/; Greek: Ὀδύσσεια, Odýsseia) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia. The poem mainly centers on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War. In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal...
published: 15 Dec 2014 -
A Cyclic Life - Clannad AMV (Paperman)
Second AMV for SakuraCon 2014. This is the first time I've made a Romance/Emotional/NON-ACTION AMV. I loved the short Paperman and this anime makes me cry. I think it came out well. Anime - Clannad and Clannad: After Story Song - Paperman Artist - Christophe Beck Enjoy. -------------------------------------------------------------------- THIS VIDEO IS STRICTLY FAN-MADE AND NON-PROFIT! I DO NOT OWN NOR DO I CLAIM TO OWN ANY OF THE AUDIO OR VIDEO CONTENT USED IN THIS VID! ALL RIGHTS TO RESPECTIVE OWNERS! "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit...
published: 19 Feb 2014 -
Time is An Illusion | The Flow of Time is an Illusion
Time is An Illusion | The Flow of Time is an Illusion The quantum universe is static. Nothing happens; there is being but no becoming. The flow of time and motion are illusions. -Julian Barbour "The Nature of Time" Forever - is composed of Nows- 'Tis not a different time- Except for Infiniteness- And Latitude of Home- From "Forever - is composed of Nows" by Emily Dickinson "Time isn't precious at all, because it is an illusion. What you perceive as precious is not time but the one point that is out time: the Now." -Eckhardt Tolle, "The Power of Now: A Guide to Spiritual Enlightenment." "My basic idea is that time as such does not exist. There is no invisible river of time. But there are things that you could call instants of time, or 'Nows.' As we live, we seem to move through a ...
published: 28 May 2015 -
TEDxPalermo - Tishani Doshi - The Luxury of Slowness
The TEDxPalermo's Talk by the Indian poet, writer and dancer Tishani Doshi was in the middle of a rainy April30th. The location due to bad weather was changed at the very last minute and studio427 were welcoming our event. The Time is the focus of the Talk. She explain us that there are many kinds of time, there is cosmic time, cyclic time, linear time, calendar time, day time, night time, work time, dream time, permanent time and impermanent time and we understand that time is a strange thing because sometimes a day can feel like a lifetime and sometimes a lifetime can feel like a dream. The obsession has to do with an age which is incredible fast, she explain us something about slowness we are almost losing. She shows us her dance work, just one production in 10 years, as a performance d...
published: 13 May 2011 -
Error Detection and Correction using Hamming code - Simplified with Animation
Algorithm Series ---------------------------- This tutorial explains Error detection and correction using Hamming code in the simplified way. Please share your valuable feedback. For more technical videos subscribe this channel.
published: 14 Feb 2017 -
Mihai Popoviciu - Cannon Poets - "Home LP" (BOND12038)
Digital Download ➤ http://classic.beatport.com/release/home/1768021 Album 2x12" ➤ http://www.decks.de/t/mihai_popoviciu-home/c74-8e ➤ http://www.deejay.de/BOND12038_-_Mihai_Popoviciu_-_Home_-_2x12inch__225602 ➤ http://www.juno.co.uk/products/mihai-popoviciu-home/612392-01 Premium Edition 2x12" + mixed CD version ➤ http://www.decks.de/t/mihai_popoviciu-home/c7a-ry ➤ http://www.deejay.de/BOND12038SP_-_Mihai_Popoviciu_-_Home_-_2x12inch__229423 ➤ http://www.juno.co.uk/products/mihai-popoviciu-home/609162-01 CD version ➤ http://www.jpc.de/jpcng/poprock/detail/-/art/mihai-popoviciu-home/hnum/2994053 ➤ http://www.amazon.de/Home-Mihai-Popoviciu/dp/B01EZAWTVI/ref=sr_1_1?ie=UTF8&qid;=1464811622&sr;=8-1&keywords;=mihai+popoviciu ➤ http://www.saturn.de/de/product/_mihai-popoviciu-home-electronica-dan...
published: 08 Jul 2016 -
Mihai Popoviciu - Focus [Bondage Music]
Premiere: Mihai Popoviciu - Focus (Original Mix) BUY: http://www.deejay.de/BOND12038_-_Mihai_Popoviciu_-_Home_-_2x12inch__225602 Cyclic records boss Mihai Popoviciu has been literally on fire lately delivering a super-consistent flow of deep and somewhat minimal releases and remixes. His new album Home is out May 4th 2016 on Bondage Music and already getting plays and support by Nicole Moudaber, Audiojack, Ralph Lawson, Anja Schneider, Francesca Lombardo and Sidney Charles. Track list: 1. Mihai Popoviciu - Focus 2. Mihai Popoviciu - ACK 3. Mihai Popoviciu - Music 999 4. Mihai Popoviciu - Cannon Poets 5. Mihai Popoviciu - Hypnosia 6. Mihai Popoviciu - Sunshine 7. Mihai Popoviciu - Havana 8. Mihai Popoviciu - Data On Data 9. Mihai Popoviciu - Triumph 10. Mihai Popoviciu - Tentacl...
published: 04 May 2016 -
Odysseys of Homer chapter 12 to 14 Audiobook
The Odysseys of Homer by Homer HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634) The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Lati...
published: 07 Jun 2016 -
Odysseys of Homer Chapter 15 Audiobook
The Odysseys of Homer by Homer HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634) The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Lati...
published: 07 Jun 2016 -
Sub Luna- Nightfall
Musician: Sub Luna Album: Awake! Official FB Page: http://www.facebook.com/subluna Myspace: http://www.myspace.com/subluna http://www.reverbnation.com/subluna http://www.cycliclaw.com/ Sub Luna was formed in Eskilstuna, Sweden in 2004 by Mikael Lindblom and Fredrik Sööberg. That same year their self-released EP "I" caught the attention of Portuguese label Dagaz Music which went on to release Sub Luna's debut album "In the Shade of Time" in 2006. After having signed with Canadian label Cyclic Law - 2010 brought the release of their second album "Awake!". Since summer 2010 Mikael Lindblom is the only permanent member of Sub Luna.
published: 02 Feb 2011 -
Silsila - (documentation at Venice Biennale)
Silsila — Arabic for ‘chain’ or ‘link’— is a multi-media installation depicting Alshaibi’s three-year cyclic journey through the significant deserts and endangered water sources of the Middle East and North African region and across to the bountiful waters the Maldives. By linking the performances in the deserts and waters of the historical Islamic world with the nomadic traditions of the region, and the travel journals of the great 14th century Eastern explorer, Ibn Battuta, Alshaibi seeks to unearth a story of continuity within the context of a threatened future. Silsila takes its inspiration from the Sufi poet Assadi Ali, who began each line of his poems, “I, the Desert”. An excerpt from his poem calls for us to recognize our common identity: “the grains of my sand rush in asking / begg...
published: 13 Jun 2013 -
Ophelia's Gaze - a chamber opera
Ophelia's Gaze (2008) - a chamber opera music, live audio and video, staging - Steve EVERETT text - Bellocq's Ophelia (Graywolf Press, 2002) - Natasha TRETHEWEY soprano - Katherine BLUMENTHAL strings - VEGA QUARTET video "Shiver" - Isabelle DEHAY costume and stage design - Leslie TAYLOR Scenes 1. Bellocq’s Ophelia voice, speaker (N. Trethewey), digital audio 2. Letter Home - voice, quartet, digital audio 3. Letters from Storyville: December 1910 - speaker, digital audio 4. Countess P’s Advice - voice, quartet 5. February 1911, Spectrum - speaker, digital audio 6. March, 1911 - speaker, quartet 7. Bellocq - speaker, digital audio 8. Vignette - voice, cello, live motion capture video 9. Shiver - voice, digital audio, video 10. (Self) Portrait, Postcard - speaker, digital audio Notes - Thi...
published: 27 Dec 2008 -
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...
published: 13 Aug 2011 -
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 ...
published: 01 Jan 2011 -
The Lammas Wickerman
The Druids Oath; We swear by Peace and Love to stand, heart to heart and hand in hand, Mark, Oh Spirit, and hear us now, confirming this our sacred vow! Lammas; The mighty wheel of the year has turned upon us once more, And I give thanks for the bountiful harvest. All hail the Sun, whose golden rays have bestowed magic upon the growing fruits of our lands. All hail the Sun He has ripened our fields And blessed us by grain without number. This joyous time is the first harvest of Lammas! So All hail the great Sun And He will come again. And now all about us as days do shorten, we stand ready for the dark time ahead. With corn stored in abundance against the cold darkness of winter we face the bleak hardship without any dread. So mote it be! Lammas c. The Bard Of Ely, 2011. Poems narrated...
published: 25 Jun 2011 -
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 laye...
published: 26 Dec 2010 -
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 COMPUT...
published: 24 Aug 2011 -
GESTALT WORK ON AWARENESS WITH BEL part 4 (HQ)
part 4 (last part) 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. at the end of the session i encourage bel to recall the overall path she has traversed during the entire two hour session. i ask her to open herself to discovering any big picture, pattern, "gestalt" (means "pattern" in german) that emerged during the entire process. if we see the gestalt therapy pilgrim as a sort of god of a world he/she is creating moment by moment, then this last step is like the sabbath at the end of the seven days on which the "lord" rests and integra...
published: 02 Jan 2011 -
FRANKLYN WEPNER TEACHER gestalt therapy with bel 3
part 3 of a 2 hour gestalt therapy session on awareness with actress bel baca BY FRANKLYN WEPNER SEPTEMBER 1, 2006 fwep@earthlink.net 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 supe...
published: 03 Oct 2010 -
FRANKLYN WEPNER TEACHER gestalt therapy with bel 5
part 5 of a two hour gestalt session on awareness with actress bel baca. BY FRANKLYN WEPNER SEPTEMBER 1, 2006 fwep@earthlink.net 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 superobjec...
published: 10 Oct 2010
The Odyssey [FULL AUDIOBOOK] PART 2 of 2
- Order: Reorder
- Duration: 6:12:39
- Updated: 15 Dec 2014
- views: 371
The Odyssey [FULL AUDIOBOOK] PART 2 of 2
The Odyssey (/ˈɒdəsi/; Greek: Ὀδύσσεια, Odýsseia) is one of two major ancient Greek epic poems attributed to Homer. ...
The Odyssey [FULL AUDIOBOOK] PART 2 of 2
The Odyssey (/ˈɒdəsi/; Greek: Ὀδύσσεια, Odýsseia) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly centers on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War. In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read.[2] The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and serfs, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta, but in one source was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets).
https://wn.com/The_Odyssey_Full_Audiobook_Part_2_Of_2
The Odyssey [FULL AUDIOBOOK] PART 2 of 2
The Odyssey (/ˈɒdəsi/; Greek: Ὀδύσσεια, Odýsseia) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly centers on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War. In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read.[2] The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and serfs, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta, but in one source was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets).
- published: 15 Dec 2014
- views: 371
A Cyclic Life - Clannad AMV (Paperman)
- Order: Reorder
- Duration: 5:18
- Updated: 19 Feb 2014
- views: 297
Second AMV for SakuraCon 2014. This is the first time I've made a Romance/Emotional/NON-ACTION AMV. I loved the short Paperman and this anime makes me cry. I th...
Second AMV for SakuraCon 2014. This is the first time I've made a Romance/Emotional/NON-ACTION AMV. I loved the short Paperman and this anime makes me cry. I think it came out well.
Anime - Clannad and Clannad: After Story
Song - Paperman
Artist - Christophe Beck
Enjoy.
--------------------------------------------------------------------
THIS VIDEO IS STRICTLY FAN-MADE AND NON-PROFIT! I DO NOT OWN NOR DO I CLAIM TO OWN ANY OF THE AUDIO OR VIDEO CONTENT USED IN THIS VID! ALL RIGHTS TO RESPECTIVE OWNERS!
"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."
https://wn.com/A_Cyclic_Life_Clannad_Amv_(Paperman)
Second AMV for SakuraCon 2014. This is the first time I've made a Romance/Emotional/NON-ACTION AMV. I loved the short Paperman and this anime makes me cry. I think it came out well.
Anime - Clannad and Clannad: After Story
Song - Paperman
Artist - Christophe Beck
Enjoy.
--------------------------------------------------------------------
THIS VIDEO IS STRICTLY FAN-MADE AND NON-PROFIT! I DO NOT OWN NOR DO I CLAIM TO OWN ANY OF THE AUDIO OR VIDEO CONTENT USED IN THIS VID! ALL RIGHTS TO RESPECTIVE OWNERS!
"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."
- published: 19 Feb 2014
- views: 297
Time is An Illusion | The Flow of Time is an Illusion
- Order: Reorder
- Duration: 1:51
- Updated: 28 May 2015
- views: 286
Time is An Illusion | The Flow of Time is an Illusion
The quantum universe is static. Nothing happens; there is being but no becoming. The flow of time and mo...
Time is An Illusion | The Flow of Time is an Illusion
The quantum universe is static. Nothing happens; there is being but no becoming. The flow of time and motion are illusions.
-Julian Barbour "The Nature of Time"
Forever - is composed of Nows-
'Tis not a different time-
Except for Infiniteness-
And Latitude of Home-
From "Forever - is composed of Nows" by Emily Dickinson
"Time isn't precious at all, because it is an illusion. What you perceive as precious is not time but the one point that is out time: the Now."
-Eckhardt Tolle, "The Power of Now: A Guide to Spiritual Enlightenment."
"My basic idea is that time as such does not exist. There is no invisible river of time. But there are things that you could call instants of time, or 'Nows.' As we live, we seem to move through a succession of Nows."
-Julian Barbour in an interview with edge.org
Time is An Illusion - https://www.youtube.com/watch?v=wanIm7yFOdg
https://www.eckharttolle.com/
http://www.platonia.com/ Julian Barbour's official website
http://www.poets.org/poetsorg/poet/emily-dickinson
http://arxiv.org/pdf/0903.3489.pdf
https://wn.com/Time_Is_An_Illusion_|_The_Flow_Of_Time_Is_An_Illusion
Time is An Illusion | The Flow of Time is an Illusion
The quantum universe is static. Nothing happens; there is being but no becoming. The flow of time and motion are illusions.
-Julian Barbour "The Nature of Time"
Forever - is composed of Nows-
'Tis not a different time-
Except for Infiniteness-
And Latitude of Home-
From "Forever - is composed of Nows" by Emily Dickinson
"Time isn't precious at all, because it is an illusion. What you perceive as precious is not time but the one point that is out time: the Now."
-Eckhardt Tolle, "The Power of Now: A Guide to Spiritual Enlightenment."
"My basic idea is that time as such does not exist. There is no invisible river of time. But there are things that you could call instants of time, or 'Nows.' As we live, we seem to move through a succession of Nows."
-Julian Barbour in an interview with edge.org
Time is An Illusion - https://www.youtube.com/watch?v=wanIm7yFOdg
https://www.eckharttolle.com/
http://www.platonia.com/ Julian Barbour's official website
http://www.poets.org/poetsorg/poet/emily-dickinson
http://arxiv.org/pdf/0903.3489.pdf
- published: 28 May 2015
- views: 286
TEDxPalermo - Tishani Doshi - The Luxury of Slowness
- Order: Reorder
- Duration: 11:59
- Updated: 13 May 2011
- views: 7775
The TEDxPalermo's Talk by the Indian poet, writer and dancer Tishani Doshi was in the middle of a rainy April30th. The location due to bad weather was changed a...
The TEDxPalermo's Talk by the Indian poet, writer and dancer Tishani Doshi was in the middle of a rainy April30th. The location due to bad weather was changed at the very last minute and studio427 were welcoming our event. The Time is the focus of the Talk. She explain us that there are many kinds of time, there is cosmic time, cyclic time, linear time, calendar time, day time, night time, work time, dream time, permanent time and impermanent time and we understand that time is a strange thing because sometimes a day can feel like a lifetime and sometimes a lifetime can feel like a dream. The obsession has to do with an age which is incredible fast, she explain us something about slowness we are almost losing. She shows us her dance work, just one production in 10 years, as a performance done with the Chandralekha's troupe (which by the way also performed in Palermo once) and tells us that Slowness has the only Luxury we have been left in our time.
Tishani was born and lives in Madras, India. Being the product of two cultures (Gujarati and Welsh), and the middle of three children. At 18 she left India for the US to study Business Administration at Queens College in Charlotte, North Carolina. During her undergraduate years she worked as a baby-sitter, house-cleaner, librarian and cashier in the student's snack bar. Shei moved to London in 1999 and landed her first and last fulltime job as the assistant to the advertising department at Harper's & Queen magazine. In 2001 Tishani moved back to India and at 26, she began a career as a dancer. For the next five years she performed with Chandralekha's troupe in India and abroad. She also worked as a freelance journalist, tinkered with poems and began working on a novel. In 2006, she won the All-India Poetry competition for her poem, "The Day We Went to the Sea." Tishani published her debut collection of poetry, Countries of the Body, to critical acclaim in 2006. The book won the prestigious Forward Prize for Best First Collection. Tishani's first novel, The Pleasure Seekers, is published by Bloomsbury in the UK and USA, and Penguin India. It is currently being translated into German, Spanish, Italian, French, Serbian, Croatian and Polish.
In the spirit of "ideas worth spreading", TED has created a program called TEDx, of local events, organized independently, that bring people together to share an experience similar to the one you live with TED. The TED Conference provides general guidance for all the TEDx events, but local events are made independently.
http://www.tedxpalermo.com
https://wn.com/Tedxpalermo_Tishani_Doshi_The_Luxury_Of_Slowness
The TEDxPalermo's Talk by the Indian poet, writer and dancer Tishani Doshi was in the middle of a rainy April30th. The location due to bad weather was changed at the very last minute and studio427 were welcoming our event. The Time is the focus of the Talk. She explain us that there are many kinds of time, there is cosmic time, cyclic time, linear time, calendar time, day time, night time, work time, dream time, permanent time and impermanent time and we understand that time is a strange thing because sometimes a day can feel like a lifetime and sometimes a lifetime can feel like a dream. The obsession has to do with an age which is incredible fast, she explain us something about slowness we are almost losing. She shows us her dance work, just one production in 10 years, as a performance done with the Chandralekha's troupe (which by the way also performed in Palermo once) and tells us that Slowness has the only Luxury we have been left in our time.
Tishani was born and lives in Madras, India. Being the product of two cultures (Gujarati and Welsh), and the middle of three children. At 18 she left India for the US to study Business Administration at Queens College in Charlotte, North Carolina. During her undergraduate years she worked as a baby-sitter, house-cleaner, librarian and cashier in the student's snack bar. Shei moved to London in 1999 and landed her first and last fulltime job as the assistant to the advertising department at Harper's & Queen magazine. In 2001 Tishani moved back to India and at 26, she began a career as a dancer. For the next five years she performed with Chandralekha's troupe in India and abroad. She also worked as a freelance journalist, tinkered with poems and began working on a novel. In 2006, she won the All-India Poetry competition for her poem, "The Day We Went to the Sea." Tishani published her debut collection of poetry, Countries of the Body, to critical acclaim in 2006. The book won the prestigious Forward Prize for Best First Collection. Tishani's first novel, The Pleasure Seekers, is published by Bloomsbury in the UK and USA, and Penguin India. It is currently being translated into German, Spanish, Italian, French, Serbian, Croatian and Polish.
In the spirit of "ideas worth spreading", TED has created a program called TEDx, of local events, organized independently, that bring people together to share an experience similar to the one you live with TED. The TED Conference provides general guidance for all the TEDx events, but local events are made independently.
http://www.tedxpalermo.com
- published: 13 May 2011
- views: 7775
Error Detection and Correction using Hamming code - Simplified with Animation
- Order: Reorder
- Duration: 13:30
- Updated: 14 Feb 2017
- views: 192
Algorithm Series
----------------------------
This tutorial explains Error detection and correction using Hamming code in the simplified way.
Please share your...
Algorithm Series
----------------------------
This tutorial explains Error detection and correction using Hamming code in the simplified way.
Please share your valuable feedback. For more technical videos subscribe this channel.
https://wn.com/Error_Detection_And_Correction_Using_Hamming_Code_Simplified_With_Animation
Algorithm Series
----------------------------
This tutorial explains Error detection and correction using Hamming code in the simplified way.
Please share your valuable feedback. For more technical videos subscribe this channel.
- published: 14 Feb 2017
- views: 192
Mihai Popoviciu - Cannon Poets - "Home LP" (BOND12038)
- Order: Reorder
- Duration: 7:26
- Updated: 08 Jul 2016
- views: 1876
Digital Download
➤ http://classic.beatport.com/release/home/1768021
Album 2x12"
➤ http://www.decks.de/t/mihai_popoviciu-home/c74-8e
➤ http://www.deejay.de/BON...
Digital Download
➤ http://classic.beatport.com/release/home/1768021
Album 2x12"
➤ http://www.decks.de/t/mihai_popoviciu-home/c74-8e
➤ http://www.deejay.de/BOND12038_-_Mihai_Popoviciu_-_Home_-_2x12inch__225602
➤ http://www.juno.co.uk/products/mihai-popoviciu-home/612392-01
Premium Edition 2x12" + mixed CD version
➤ http://www.decks.de/t/mihai_popoviciu-home/c7a-ry
➤ http://www.deejay.de/BOND12038SP_-_Mihai_Popoviciu_-_Home_-_2x12inch__229423
➤ http://www.juno.co.uk/products/mihai-popoviciu-home/609162-01
CD version
➤ http://www.jpc.de/jpcng/poprock/detail/-/art/mihai-popoviciu-home/hnum/2994053
➤ http://www.amazon.de/Home-Mihai-Popoviciu/dp/B01EZAWTVI/ref=sr_1_1?ie=UTF8&qid;=1464811622&sr;=8-1&keywords;=mihai+popoviciu
➤ http://www.saturn.de/de/product/_mihai-popoviciu-home-electronica-dance-cd-2133744.html
Bondage-Music:
http://www.bondage-music.com
https://www.facebook.com/BondageRecords/
https://soundcloud.com/bondage-music
Mihai Popoviciu:
https://www.facebook.com/mihaipopoviciu1
https://soundcloud.com/mihai-popoviciu-1
https://wn.com/Mihai_Popoviciu_Cannon_Poets_Home_Lp_(Bond12038)
Digital Download
➤ http://classic.beatport.com/release/home/1768021
Album 2x12"
➤ http://www.decks.de/t/mihai_popoviciu-home/c74-8e
➤ http://www.deejay.de/BOND12038_-_Mihai_Popoviciu_-_Home_-_2x12inch__225602
➤ http://www.juno.co.uk/products/mihai-popoviciu-home/612392-01
Premium Edition 2x12" + mixed CD version
➤ http://www.decks.de/t/mihai_popoviciu-home/c7a-ry
➤ http://www.deejay.de/BOND12038SP_-_Mihai_Popoviciu_-_Home_-_2x12inch__229423
➤ http://www.juno.co.uk/products/mihai-popoviciu-home/609162-01
CD version
➤ http://www.jpc.de/jpcng/poprock/detail/-/art/mihai-popoviciu-home/hnum/2994053
➤ http://www.amazon.de/Home-Mihai-Popoviciu/dp/B01EZAWTVI/ref=sr_1_1?ie=UTF8&qid;=1464811622&sr;=8-1&keywords;=mihai+popoviciu
➤ http://www.saturn.de/de/product/_mihai-popoviciu-home-electronica-dance-cd-2133744.html
Bondage-Music:
http://www.bondage-music.com
https://www.facebook.com/BondageRecords/
https://soundcloud.com/bondage-music
Mihai Popoviciu:
https://www.facebook.com/mihaipopoviciu1
https://soundcloud.com/mihai-popoviciu-1
- published: 08 Jul 2016
- views: 1876
Mihai Popoviciu - Focus [Bondage Music]
- Order: Reorder
- Duration: 7:18
- Updated: 04 May 2016
- views: 15089
Premiere: Mihai Popoviciu - Focus (Original Mix)
BUY: http://www.deejay.de/BOND12038_-_Mihai_Popoviciu_-_Home_-_2x12inch__225602
Cyclic records boss Mihai Pop...
Premiere: Mihai Popoviciu - Focus (Original Mix)
BUY: http://www.deejay.de/BOND12038_-_Mihai_Popoviciu_-_Home_-_2x12inch__225602
Cyclic records boss Mihai Popoviciu has been literally on fire lately delivering a super-consistent flow of deep and somewhat minimal releases and remixes.
His new album Home is out May 4th 2016 on Bondage Music and already getting plays and support by Nicole Moudaber, Audiojack, Ralph Lawson, Anja Schneider, Francesca Lombardo and Sidney Charles.
Track list:
1. Mihai Popoviciu - Focus
2. Mihai Popoviciu - ACK
3. Mihai Popoviciu - Music 999
4. Mihai Popoviciu - Cannon Poets
5. Mihai Popoviciu - Hypnosia
6. Mihai Popoviciu - Sunshine
7. Mihai Popoviciu - Havana
8. Mihai Popoviciu - Data On Data
9. Mihai Popoviciu - Triumph
10. Mihai Popoviciu - Tentacle Operated
11. Mihai Popoviciu - Sandstone Folder
12. Mihai Popoviciu - Paranoia
https://wn.com/Mihai_Popoviciu_Focus_Bondage_Music
Premiere: Mihai Popoviciu - Focus (Original Mix)
BUY: http://www.deejay.de/BOND12038_-_Mihai_Popoviciu_-_Home_-_2x12inch__225602
Cyclic records boss Mihai Popoviciu has been literally on fire lately delivering a super-consistent flow of deep and somewhat minimal releases and remixes.
His new album Home is out May 4th 2016 on Bondage Music and already getting plays and support by Nicole Moudaber, Audiojack, Ralph Lawson, Anja Schneider, Francesca Lombardo and Sidney Charles.
Track list:
1. Mihai Popoviciu - Focus
2. Mihai Popoviciu - ACK
3. Mihai Popoviciu - Music 999
4. Mihai Popoviciu - Cannon Poets
5. Mihai Popoviciu - Hypnosia
6. Mihai Popoviciu - Sunshine
7. Mihai Popoviciu - Havana
8. Mihai Popoviciu - Data On Data
9. Mihai Popoviciu - Triumph
10. Mihai Popoviciu - Tentacle Operated
11. Mihai Popoviciu - Sandstone Folder
12. Mihai Popoviciu - Paranoia
- published: 04 May 2016
- views: 15089
Odysseys of Homer chapter 12 to 14 Audiobook
- Order: Reorder
- Duration: 2:33:31
- Updated: 07 Jun 2016
- views: 14
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Uly...
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin translations. Chapman's translation has been admired by many, including John Keats and others. Many of these stories are familiar to us, Ulysses and the Sirens, Circe turning his crew to swine, their escape from the Cyclops on the bellies of his sheep, but Chapman's version includes violent episodes and suggestive innuendo that I don't recall from my childhood days. (Introduction by Fritz)
Genre(s): Classics (Antiquity), Epics
Language: English
Librivox
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[3] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). wikipedia
https://wn.com/Odysseys_Of_Homer_Chapter_12_To_14_Audiobook
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin translations. Chapman's translation has been admired by many, including John Keats and others. Many of these stories are familiar to us, Ulysses and the Sirens, Circe turning his crew to swine, their escape from the Cyclops on the bellies of his sheep, but Chapman's version includes violent episodes and suggestive innuendo that I don't recall from my childhood days. (Introduction by Fritz)
Genre(s): Classics (Antiquity), Epics
Language: English
Librivox
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[3] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). wikipedia
- published: 07 Jun 2016
- views: 14
Odysseys of Homer Chapter 15 Audiobook
- Order: Reorder
- Duration: 41:00
- Updated: 07 Jun 2016
- views: 8
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Uly...
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin translations. Chapman's translation has been admired by many, including John Keats and others. Many of these stories are familiar to us, Ulysses and the Sirens, Circe turning his crew to swine, their escape from the Cyclops on the bellies of his sheep, but Chapman's version includes violent episodes and suggestive innuendo that I don't recall from my childhood days. (Introduction by Fritz)
Genre(s): Classics (Antiquity), Epics
Language: English
Librivox
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[3] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). wikipedia
https://wn.com/Odysseys_Of_Homer_Chapter_15_Audiobook
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin translations. Chapman's translation has been admired by many, including John Keats and others. Many of these stories are familiar to us, Ulysses and the Sirens, Circe turning his crew to swine, their escape from the Cyclops on the bellies of his sheep, but Chapman's version includes violent episodes and suggestive innuendo that I don't recall from my childhood days. (Introduction by Fritz)
Genre(s): Classics (Antiquity), Epics
Language: English
Librivox
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[3] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). wikipedia
- published: 07 Jun 2016
- views: 8
Sub Luna- Nightfall
- Order: Reorder
- Duration: 5:15
- Updated: 02 Feb 2011
- views: 1756
Musician: Sub Luna
Album: Awake!
Official FB Page:
http://www.facebook.com/subluna
Myspace:
http://www.myspace.com/subluna
http://www.reverbnation.c...
Musician: Sub Luna
Album: Awake!
Official FB Page:
http://www.facebook.com/subluna
Myspace:
http://www.myspace.com/subluna
http://www.reverbnation.com/subluna
http://www.cycliclaw.com/
Sub Luna was formed in Eskilstuna, Sweden in 2004 by Mikael Lindblom and Fredrik Sööberg. That same year their self-released EP "I" caught the attention of Portuguese label Dagaz Music which went on to release Sub Luna's debut album "In the Shade of Time" in 2006. After having signed with Canadian label Cyclic Law - 2010 brought the release of their second album "Awake!". Since summer 2010 Mikael Lindblom is the only permanent member of Sub Luna.
https://wn.com/Sub_Luna_Nightfall
Musician: Sub Luna
Album: Awake!
Official FB Page:
http://www.facebook.com/subluna
Myspace:
http://www.myspace.com/subluna
http://www.reverbnation.com/subluna
http://www.cycliclaw.com/
Sub Luna was formed in Eskilstuna, Sweden in 2004 by Mikael Lindblom and Fredrik Sööberg. That same year their self-released EP "I" caught the attention of Portuguese label Dagaz Music which went on to release Sub Luna's debut album "In the Shade of Time" in 2006. After having signed with Canadian label Cyclic Law - 2010 brought the release of their second album "Awake!". Since summer 2010 Mikael Lindblom is the only permanent member of Sub Luna.
- published: 02 Feb 2011
- views: 1756
Silsila - (documentation at Venice Biennale)
- Order: Reorder
- Duration: 3:57
- Updated: 10 Apr 2014
- views: 543
Silsila — Arabic for ‘chain’ or ‘link’— is a multi-media installation depicting Alshaibi’s three-year cyclic journey through the significant deserts and endange...
Silsila — Arabic for ‘chain’ or ‘link’— is a multi-media installation depicting Alshaibi’s three-year cyclic journey through the significant deserts and endangered water sources of the Middle East and North African region and across to the bountiful waters the Maldives. By linking the performances in the deserts and waters of the historical Islamic world with the nomadic traditions of the region, and the travel journals of the great 14th century Eastern explorer, Ibn Battuta, Alshaibi seeks to unearth a story of continuity within the context of a threatened future. Silsila takes its inspiration from the Sufi poet Assadi Ali, who began each line of his poems, “I, the Desert”. An excerpt from his poem calls for us to recognize our common identity: “the grains of my sand rush in asking / begging You [Allah] to keep my descendents / and nation united”. Silsila is a story of a shared history and soon to be written future — the tales of the climate refugee and its geographic voice, and our search for connection with each other as interdependent peoples and nations plagued by an unthinkable future.
Courtesy of Ayyam Gallery
Music composed by Grey Filastine,
featuring Brent Arnold (cello) and Abdel Hak (violin)
https://wn.com/Silsila_(Documentation_At_Venice_Biennale)
Silsila — Arabic for ‘chain’ or ‘link’— is a multi-media installation depicting Alshaibi’s three-year cyclic journey through the significant deserts and endangered water sources of the Middle East and North African region and across to the bountiful waters the Maldives. By linking the performances in the deserts and waters of the historical Islamic world with the nomadic traditions of the region, and the travel journals of the great 14th century Eastern explorer, Ibn Battuta, Alshaibi seeks to unearth a story of continuity within the context of a threatened future. Silsila takes its inspiration from the Sufi poet Assadi Ali, who began each line of his poems, “I, the Desert”. An excerpt from his poem calls for us to recognize our common identity: “the grains of my sand rush in asking / begging You [Allah] to keep my descendents / and nation united”. Silsila is a story of a shared history and soon to be written future — the tales of the climate refugee and its geographic voice, and our search for connection with each other as interdependent peoples and nations plagued by an unthinkable future.
Courtesy of Ayyam Gallery
Music composed by Grey Filastine,
featuring Brent Arnold (cello) and Abdel Hak (violin)
- published: 13 Jun 2013
- views: 543
Ophelia's Gaze - a chamber opera
- Order: Reorder
- Duration: 1:04:06
- Updated: 06 Apr 2014
- views: 2353
Ophelia's Gaze (2008) - a chamber opera
music, live audio and video, staging - Steve EVERETT
text - Bellocq's Ophelia (Graywolf Press, 2002) - Natasha TRETHEWEY...
Ophelia's Gaze (2008) - a chamber opera
music, live audio and video, staging - Steve EVERETT
text - Bellocq's Ophelia (Graywolf Press, 2002) - Natasha TRETHEWEY
soprano - Katherine BLUMENTHAL
strings - VEGA QUARTET
video "Shiver" - Isabelle DEHAY
costume and stage design - Leslie TAYLOR
Scenes
1. Bellocq’s Ophelia voice, speaker (N. Trethewey), digital audio
2. Letter Home - voice, quartet, digital audio
3. Letters from Storyville: December 1910 - speaker, digital audio
4. Countess P’s Advice - voice, quartet
5. February 1911, Spectrum - speaker, digital audio
6. March, 1911 - speaker, quartet
7. Bellocq - speaker, digital audio
8. Vignette - voice, cello, live motion capture video
9. Shiver - voice, digital audio, video
10. (Self) Portrait, Postcard - speaker, digital audio
Notes - This is a monodrama structured as a reverie on Ophelia, the young girl portrayed in Emory poet, Natasha Trethewey’s collection, Bellocq’s Ophelia. The set of poems was written as a narrative sequence and contains the imagined thoughts and perceptions of one of the young prostitutes photographed by E. J. Bellocq in 1912 who worked in a brothel in the Storyville section of New Orleans. The aural-visual relationships in my composition will unfold as a series of tableau using the consciousness of dreams, memories, and reveries described in French philosopher Gaston Bachelard’s last work, La Poétique de la Réverie (1960).
The text is sung and spoken by a soprano/narrator who encounters multiple reflections of her own image and the environment in which she exists or imagines. She interacts musically with the string quartet members and visually with her own images reflected in video “mirrors.” Video cameras and microphones are used to transform her visual identity and voice through interactive computer-processing programs. Technology used in the performance include MaxMSP live music processing environment, a hemispherical audio speaker array, and an interactive video motion capture system developed for this production. This video system consists of infrared light, motion-capture hardware combined with the Eyecon Motion Sensing software and Isadora Graphic Programming Environment.
Biographies
Steve Everett, composer
Steve Everett is Professor of Music and teaches composition, computer music, and directs the Music-Audio Research Center at Emory University. In addition he has recently been a visiting professor of composition at Princeton University, Eastman School of Music, Conservatoire National Supérieur de Musique de Paris, the Conservatoire de Musique de Genève in Switzerland, Rotterdam Conservatory of Music, and Utrecht School of the Arts. Many of his recent compositions involve performers with computer-controlled electronics and have been performed in seventeen different countries throughout Europe, Asia, and North America, including at IRCAM and INA-GRM Radio France in Paris, Orgelpark in Amsterdam, The Esplanade in Singapore, University of Göteborg-Sweden, Korea Computer Music Festival in Seoul, Royal Northern College of Music in England, Amerika Haus in Cologne-Germany, Tokyo Denki University, and Lincoln Center, Carnegie Hall, and Merkin Hall in New York. Composition awards have been received from the Rockefeller Foundation, Asian Cultural Council, Chamber Music America, American Composers Forum, and International Trumpet Guild. He is recorded on SCI, Crystal, Mark, Frog Peak and ACA Digital Records. He has been a resident research fellow at the Rockefeller Study Center in Bellagio, Italy, Liguria Foundation in Bogliasco, Italy, and at the Center for Humanistic Inquiry at Emory University. In 1998 he received the Mayor’s Fellowship in the Arts, awarded by the City of Atlanta, the city’s highest recognition of artistic achievement. In addition to substantial experience conducting opera and orchestral repertoire, he has presented over 200 works of contemporary music as conductor of Thamyris New Music Ensemble in Atlanta since 1992. His doctoral degree in composition is from the University of Illinois studying with Salvatore Martirano. He also studied composition with Sir Peter Maxwell Davies and Witold Lutoslawski at Dartington Hall in England and has received foundation support for music study in Bali, Java, and India. He served as chair of the Department of Music and interim director of the Center for Humanistic Inquiry at Emory University.
Leslie Taylor, stage designer
Leslie Taylor, the inaugural director of the Center for Creativity & Arts in Emory College, has extensive experience in teaching, design and management. She has designed sets and costumes for over 100 productions. Currently Chair of the Theater Studies Program at Emory University, she also served as the Artistic Director for Theater Emory's 2000-2001 season. She is the resident designer for Theater Emory, and has designed for the GA Shakespeare, the Center for Puppetry Arts, the Alliance Theater, Georgia Ensemble Theater, and Theatri
https://wn.com/Ophelia's_Gaze_A_Chamber_Opera
Ophelia's Gaze (2008) - a chamber opera
music, live audio and video, staging - Steve EVERETT
text - Bellocq's Ophelia (Graywolf Press, 2002) - Natasha TRETHEWEY
soprano - Katherine BLUMENTHAL
strings - VEGA QUARTET
video "Shiver" - Isabelle DEHAY
costume and stage design - Leslie TAYLOR
Scenes
1. Bellocq’s Ophelia voice, speaker (N. Trethewey), digital audio
2. Letter Home - voice, quartet, digital audio
3. Letters from Storyville: December 1910 - speaker, digital audio
4. Countess P’s Advice - voice, quartet
5. February 1911, Spectrum - speaker, digital audio
6. March, 1911 - speaker, quartet
7. Bellocq - speaker, digital audio
8. Vignette - voice, cello, live motion capture video
9. Shiver - voice, digital audio, video
10. (Self) Portrait, Postcard - speaker, digital audio
Notes - This is a monodrama structured as a reverie on Ophelia, the young girl portrayed in Emory poet, Natasha Trethewey’s collection, Bellocq’s Ophelia. The set of poems was written as a narrative sequence and contains the imagined thoughts and perceptions of one of the young prostitutes photographed by E. J. Bellocq in 1912 who worked in a brothel in the Storyville section of New Orleans. The aural-visual relationships in my composition will unfold as a series of tableau using the consciousness of dreams, memories, and reveries described in French philosopher Gaston Bachelard’s last work, La Poétique de la Réverie (1960).
The text is sung and spoken by a soprano/narrator who encounters multiple reflections of her own image and the environment in which she exists or imagines. She interacts musically with the string quartet members and visually with her own images reflected in video “mirrors.” Video cameras and microphones are used to transform her visual identity and voice through interactive computer-processing programs. Technology used in the performance include MaxMSP live music processing environment, a hemispherical audio speaker array, and an interactive video motion capture system developed for this production. This video system consists of infrared light, motion-capture hardware combined with the Eyecon Motion Sensing software and Isadora Graphic Programming Environment.
Biographies
Steve Everett, composer
Steve Everett is Professor of Music and teaches composition, computer music, and directs the Music-Audio Research Center at Emory University. In addition he has recently been a visiting professor of composition at Princeton University, Eastman School of Music, Conservatoire National Supérieur de Musique de Paris, the Conservatoire de Musique de Genève in Switzerland, Rotterdam Conservatory of Music, and Utrecht School of the Arts. Many of his recent compositions involve performers with computer-controlled electronics and have been performed in seventeen different countries throughout Europe, Asia, and North America, including at IRCAM and INA-GRM Radio France in Paris, Orgelpark in Amsterdam, The Esplanade in Singapore, University of Göteborg-Sweden, Korea Computer Music Festival in Seoul, Royal Northern College of Music in England, Amerika Haus in Cologne-Germany, Tokyo Denki University, and Lincoln Center, Carnegie Hall, and Merkin Hall in New York. Composition awards have been received from the Rockefeller Foundation, Asian Cultural Council, Chamber Music America, American Composers Forum, and International Trumpet Guild. He is recorded on SCI, Crystal, Mark, Frog Peak and ACA Digital Records. He has been a resident research fellow at the Rockefeller Study Center in Bellagio, Italy, Liguria Foundation in Bogliasco, Italy, and at the Center for Humanistic Inquiry at Emory University. In 1998 he received the Mayor’s Fellowship in the Arts, awarded by the City of Atlanta, the city’s highest recognition of artistic achievement. In addition to substantial experience conducting opera and orchestral repertoire, he has presented over 200 works of contemporary music as conductor of Thamyris New Music Ensemble in Atlanta since 1992. His doctoral degree in composition is from the University of Illinois studying with Salvatore Martirano. He also studied composition with Sir Peter Maxwell Davies and Witold Lutoslawski at Dartington Hall in England and has received foundation support for music study in Bali, Java, and India. He served as chair of the Department of Music and interim director of the Center for Humanistic Inquiry at Emory University.
Leslie Taylor, stage designer
Leslie Taylor, the inaugural director of the Center for Creativity & Arts in Emory College, has extensive experience in teaching, design and management. She has designed sets and costumes for over 100 productions. Currently Chair of the Theater Studies Program at Emory University, she also served as the Artistic Director for Theater Emory's 2000-2001 season. She is the resident designer for Theater Emory, and has designed for the GA Shakespeare, the Center for Puppetry Arts, the Alliance Theater, Georgia Ensemble Theater, and Theatri
- published: 27 Dec 2008
- views: 2353
GESTALT WORK ON AWARENESS (HQ) - PART גשטאלט - מודעות - חלק 1
- Order: Reorder
- Duration: 16:19
- Updated: 10 Apr 2014
- views: 19870
HQ. gestalt work on awareness, part 1. hebrew subtitles added.
BY FRANKLYN WEPNER SEPTEMBER 1, 2006...
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
https://wn.com/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
- published: 13 Aug 2011
- views: 19870
GESTALT WORK ON AWARENESS WITH BEL part 3 (HQ)
- Order: Reorder
- Duration: 29:21
- Updated: 10 Apr 2014
- views: 18050
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 w...
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
https://wn.com/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
- published: 01 Jan 2011
- views: 18050
The Lammas Wickerman
- Order: Reorder
- Duration: 6:00
- Updated: 09 Apr 2014
- views: 525
The Druids Oath;
We swear by Peace and Love to stand, heart to heart and hand in hand,
Mark, Oh Spirit, and hear us now, confirming this our sacred vow!
Lammas...
The Druids Oath;
We swear by Peace and Love to stand, heart to heart and hand in hand,
Mark, Oh Spirit, and hear us now, confirming this our sacred vow!
Lammas;
The mighty wheel of the year has turned upon us once more,
And I give thanks for the bountiful harvest.
All hail the Sun, whose golden rays have bestowed magic
upon the growing fruits of our lands.
All hail the Sun He has ripened our fields And blessed us by grain without number.
This joyous time is the first harvest of Lammas!
So All hail the great Sun And He will come again.
And now all about us as days do shorten, we stand ready for the dark time ahead.
With corn stored in abundance against the cold darkness of winter
we face the bleak hardship without any dread.
So mote it be!
Lammas c. The Bard Of Ely, 2011.
Poems narrated by The Bard of Ely.
Welsh Translation kindly provided by Gareth Owen
Rheolwr y Theatr / Theatre Manager, Theatr y Pafiliwn / Pavilion Theatre, Rhyl.
For full details please see Blog here;
( http://celestialelfdanceoflife.blogspot.com/2011/06/lammas-wickerman.html )
The Bard of Ely is an eco-warrior, poet, author, Arthurian Druid, master of herblore, singer-songwriter, techno-folk fusion pioneer, actor and performer originally from Cardiff, Wales.
In the tradition of Welsh Bards such as Taliesin, The Bard of Ely shares his skills as Principal Bard of the Loyal Arthurian Warband Druidic Order (Stonehenge) and Gorsedd of Bards of Caer Abiri (Avebury), as well as across the wide reaching area of his spiritual mission.
In 2002 and 03, The Bard of Ely was both compère for the Avalon Stage at Glastonbury Festival and played there, as well as at the Green Man Festival. The Bard of Ely's albums are avaliable from DMMG Records:
( http://dmmg.webs.com/ ) and at iTunes.
As a writer He has authored Herbs of the Northern Shaman and written widely, including for Permaculture and Feed Your Brain magazines, CJ Stone's Prediction and the NFOP magazine. You can find about more about The Bard of Ely at his Blog ( http://bardofelysays.blogspot.com/ )
Lammas, also called Lughnasadh (Loo-Nah-Sah) in commemoration of The Celtic Sun God Lugh, occurs at the beginning of the harvest season, in the Northern Hemisphere 1st August, in the Southern February 1st.
Lugh, also known as the patron of Bards and Magicians, came to be associated with grain in Celtic mythology because Tailtiu his foster mother died from exhaustion after clearing the great forest so the people could cultivate the lands. Before she died she told them that her son Lugh, the Sun King, would pour his spirit into the grain to sustain them over the long fruitless winters. People honor Her gift and the crops with a day of thanksgiving for the harvest.
Grain has been associated by many cultures with the mystery of death and rebirth for centuries, English folklore represents John Barleycorn as the crop of barley, corresponding to the same cyclic nature of planting, growing, harvesting, death and rebirth.
Sir James Frazer cites John Barleycorn In The Golden Bough as proof of a Pagan cult in England that worshiped a god of vegetation, who was then sacrificed to bring fertility to the fields.
It is tempting to see in this tradition echoes of human sacrifice as portrayed in The Wickerman film (1973), but that is not really what this time is about.
Whilst there was a Celtic ritual of dressing the last sheaf of corn to be harvested in fine clothes, or weaving it into a wicker-like man or woman, it was believed that the Sun 's spirit was trapped in the grain and needed to be set free by fire, so the effigy was burned. This tradition is thought by many to have been the origin of the misconception that Druids made human sacrifices, along with Julius Caesar's politically motivated accounts.
Bright Blessings to you ~
/|\
Grateful thanks to The Bard of Ely for permission to use his song I AM;
(http://www.soundclick.com/bands/page_songInfo.cfm?bandID=76222&songID...31)
https://wn.com/The_Lammas_Wickerman
The Druids Oath;
We swear by Peace and Love to stand, heart to heart and hand in hand,
Mark, Oh Spirit, and hear us now, confirming this our sacred vow!
Lammas;
The mighty wheel of the year has turned upon us once more,
And I give thanks for the bountiful harvest.
All hail the Sun, whose golden rays have bestowed magic
upon the growing fruits of our lands.
All hail the Sun He has ripened our fields And blessed us by grain without number.
This joyous time is the first harvest of Lammas!
So All hail the great Sun And He will come again.
And now all about us as days do shorten, we stand ready for the dark time ahead.
With corn stored in abundance against the cold darkness of winter
we face the bleak hardship without any dread.
So mote it be!
Lammas c. The Bard Of Ely, 2011.
Poems narrated by The Bard of Ely.
Welsh Translation kindly provided by Gareth Owen
Rheolwr y Theatr / Theatre Manager, Theatr y Pafiliwn / Pavilion Theatre, Rhyl.
For full details please see Blog here;
( http://celestialelfdanceoflife.blogspot.com/2011/06/lammas-wickerman.html )
The Bard of Ely is an eco-warrior, poet, author, Arthurian Druid, master of herblore, singer-songwriter, techno-folk fusion pioneer, actor and performer originally from Cardiff, Wales.
In the tradition of Welsh Bards such as Taliesin, The Bard of Ely shares his skills as Principal Bard of the Loyal Arthurian Warband Druidic Order (Stonehenge) and Gorsedd of Bards of Caer Abiri (Avebury), as well as across the wide reaching area of his spiritual mission.
In 2002 and 03, The Bard of Ely was both compère for the Avalon Stage at Glastonbury Festival and played there, as well as at the Green Man Festival. The Bard of Ely's albums are avaliable from DMMG Records:
( http://dmmg.webs.com/ ) and at iTunes.
As a writer He has authored Herbs of the Northern Shaman and written widely, including for Permaculture and Feed Your Brain magazines, CJ Stone's Prediction and the NFOP magazine. You can find about more about The Bard of Ely at his Blog ( http://bardofelysays.blogspot.com/ )
Lammas, also called Lughnasadh (Loo-Nah-Sah) in commemoration of The Celtic Sun God Lugh, occurs at the beginning of the harvest season, in the Northern Hemisphere 1st August, in the Southern February 1st.
Lugh, also known as the patron of Bards and Magicians, came to be associated with grain in Celtic mythology because Tailtiu his foster mother died from exhaustion after clearing the great forest so the people could cultivate the lands. Before she died she told them that her son Lugh, the Sun King, would pour his spirit into the grain to sustain them over the long fruitless winters. People honor Her gift and the crops with a day of thanksgiving for the harvest.
Grain has been associated by many cultures with the mystery of death and rebirth for centuries, English folklore represents John Barleycorn as the crop of barley, corresponding to the same cyclic nature of planting, growing, harvesting, death and rebirth.
Sir James Frazer cites John Barleycorn In The Golden Bough as proof of a Pagan cult in England that worshiped a god of vegetation, who was then sacrificed to bring fertility to the fields.
It is tempting to see in this tradition echoes of human sacrifice as portrayed in The Wickerman film (1973), but that is not really what this time is about.
Whilst there was a Celtic ritual of dressing the last sheaf of corn to be harvested in fine clothes, or weaving it into a wicker-like man or woman, it was believed that the Sun 's spirit was trapped in the grain and needed to be set free by fire, so the effigy was burned. This tradition is thought by many to have been the origin of the misconception that Druids made human sacrifices, along with Julius Caesar's politically motivated accounts.
Bright Blessings to you ~
/|\
Grateful thanks to The Bard of Ely for permission to use his song I AM;
(http://www.soundclick.com/bands/page_songInfo.cfm?bandID=76222&songID...31)
- published: 25 Jun 2011
- views: 525
GESTALT WORK ON AWARENESS WITH BEL pt 2 (HQ)
- Order: Reorder
- Duration: 37:11
- Updated: 10 Apr 2014
- views: 14611
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 feedb...
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
https://wn.com/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
- published: 26 Dec 2010
- views: 14611
GESTALT - AWARENESS PART כותרות בעברית. גשטאלט - מודעות חלק 2 .HQ
- Order: Reorder
- Duration: 25:52
- Updated: 10 Apr 2014
- views: 13704
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...
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
https://wn.com/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
- published: 24 Aug 2011
- views: 13704
GESTALT WORK ON AWARENESS WITH BEL part 4 (HQ)
- Order: Reorder
- Duration: 26:48
- Updated: 10 Apr 2014
- views: 13013
part 4 (last part) of a two hour gestalt session on awareness with actress bel baca. the focus here is "the rhythm of contact and withdrawal", alternating betwe...
part 4 (last part) 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. at the end of the session i encourage bel to recall the overall path she has traversed during the entire two hour session. i ask her to open herself to discovering any big picture, pattern, "gestalt" (means "pattern" in german) that emerged during the entire process. if we see the gestalt therapy pilgrim as a sort of god of a world he/she is creating moment by moment, then this last step is like the sabbath at the end of the seven days on which the "lord" rests and integrates the initial idea with all that unfolded during the other six days. this is aristotle's theory of action, that the "actual" is prior to the "potential", i.e., the overall encompassing action or gestalt is somehow logically more present than the individual moments of the action that unfold along the way. but this is only the case if the action stays in the here and now, the "messianic now", in which the knower, the known and the knowing all partake of a oneness. in this sense "god" is this encompassing oneness, the synthesis capable of integrating the myriad antitheses of his/her world. bel has shown herself willing and able to subordinate her ego to this here and now awareness process, and in this sense her humility is comparable to that of moses, which gave moses privileged access to god's torah, god's living word. bel thus joined the choosing/chosen people, those choosing to allow the divine soul to subjugate - for a while - the animal soul which usually drives us. from another perspective, if we regard each of the here and now moments along the way as our access to another face, countenance, point of view or "name" of god, then this final moment of an extended gestalt session is the moment of redemption at which god and names, his name, his nam(ing) are one.
during this final moment of existential action the searcher allows the existential message of the awareness work or the dreamwork to emerge and swallow up all the fragmentary kaleidoscopic array of here and now moments that contributed their energy to this "strong gestalt". this also is leibniz' theory of an encompassing "monadology" with integrates all the "monads". if each here and now gestalt is a world, a monad, a living organism, then the encompassing gestalt, monadology or superorganism is a world of worlds, the body of god. man is such a superorganism, with a mind/soul capable of integrating the fuctioning of every organ, cell, cellule, molecule and atom. maimonides and then st. thomas borrowed this organic theory of action from aristotle and made it one basis of our contemporary judeo-christian worldview. maimonides, furthermore, used this theory as the starting point for his theory of prophecy. since this theory also is the basis of the stanislavski/brecht dialectical tradition of performer training, it is in this sense that a well trained performer is serving a prophetic function for an audience. such a performer needs to know enough about this way of working to be able consciously to harness it as the motor of his creative work. this puts the horse before the cart. of course, this is the exact opposite of how most performers work, with their insatiable ego hunger for fame and fortune. for more on this topic see the essays "prophecy here and now" and "rashi and b'reishit" at my website, "franklynwepner.com".
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 lo
https://wn.com/Gestalt_Work_On_Awareness_With_Bel_Part_4_(Hq)
part 4 (last part) 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. at the end of the session i encourage bel to recall the overall path she has traversed during the entire two hour session. i ask her to open herself to discovering any big picture, pattern, "gestalt" (means "pattern" in german) that emerged during the entire process. if we see the gestalt therapy pilgrim as a sort of god of a world he/she is creating moment by moment, then this last step is like the sabbath at the end of the seven days on which the "lord" rests and integrates the initial idea with all that unfolded during the other six days. this is aristotle's theory of action, that the "actual" is prior to the "potential", i.e., the overall encompassing action or gestalt is somehow logically more present than the individual moments of the action that unfold along the way. but this is only the case if the action stays in the here and now, the "messianic now", in which the knower, the known and the knowing all partake of a oneness. in this sense "god" is this encompassing oneness, the synthesis capable of integrating the myriad antitheses of his/her world. bel has shown herself willing and able to subordinate her ego to this here and now awareness process, and in this sense her humility is comparable to that of moses, which gave moses privileged access to god's torah, god's living word. bel thus joined the choosing/chosen people, those choosing to allow the divine soul to subjugate - for a while - the animal soul which usually drives us. from another perspective, if we regard each of the here and now moments along the way as our access to another face, countenance, point of view or "name" of god, then this final moment of an extended gestalt session is the moment of redemption at which god and names, his name, his nam(ing) are one.
during this final moment of existential action the searcher allows the existential message of the awareness work or the dreamwork to emerge and swallow up all the fragmentary kaleidoscopic array of here and now moments that contributed their energy to this "strong gestalt". this also is leibniz' theory of an encompassing "monadology" with integrates all the "monads". if each here and now gestalt is a world, a monad, a living organism, then the encompassing gestalt, monadology or superorganism is a world of worlds, the body of god. man is such a superorganism, with a mind/soul capable of integrating the fuctioning of every organ, cell, cellule, molecule and atom. maimonides and then st. thomas borrowed this organic theory of action from aristotle and made it one basis of our contemporary judeo-christian worldview. maimonides, furthermore, used this theory as the starting point for his theory of prophecy. since this theory also is the basis of the stanislavski/brecht dialectical tradition of performer training, it is in this sense that a well trained performer is serving a prophetic function for an audience. such a performer needs to know enough about this way of working to be able consciously to harness it as the motor of his creative work. this puts the horse before the cart. of course, this is the exact opposite of how most performers work, with their insatiable ego hunger for fame and fortune. for more on this topic see the essays "prophecy here and now" and "rashi and b'reishit" at my website, "franklynwepner.com".
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 lo
- published: 02 Jan 2011
- views: 13013
FRANKLYN WEPNER TEACHER gestalt therapy with bel 3
- Order: Reorder
- Duration: 56:09
- Updated: 10 Apr 2014
- views: 11317
part 3 of a 2 hour gestalt therapy session on awareness with actress bel baca
BY FRANKLYN WEPNER SE...
part 3 of a 2 hour gestalt therapy session on awareness with actress bel baca
BY FRANKLYN WEPNER SEPTEMBER 1, 2006
fwep@earthlink.net
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 en
https://wn.com/Franklyn_Wepner_Teacher_Gestalt_Therapy_With_Bel_3
part 3 of a 2 hour gestalt therapy session on awareness with actress bel baca
BY FRANKLYN WEPNER SEPTEMBER 1, 2006
fwep@earthlink.net
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 en
- published: 03 Oct 2010
- views: 11317
FRANKLYN WEPNER TEACHER gestalt therapy with bel 5
- Order: Reorder
- Duration: 14:58
- Updated: 10 Apr 2014
- views: 9985
part 5 of a two hour gestalt session on awareness with actress bel baca. BY FRANKLYN WEPNER SEPTEMBE...
part 5 of a two hour gestalt session on awareness with actress bel baca. BY FRANKLYN WEPNER SEPTEMBER 1, 2006
fwep@earthlink.net
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
https://wn.com/Franklyn_Wepner_Teacher_Gestalt_Therapy_With_Bel_5
part 5 of a two hour gestalt session on awareness with actress bel baca. BY FRANKLYN WEPNER SEPTEMBER 1, 2006
fwep@earthlink.net
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
- published: 10 Oct 2010
- views: 9985
-
The Odyssey [FULL AUDIOBOOK] PART 2 of 2
The Odyssey [FULL AUDIOBOOK] PART 2 of 2 The Odyssey (/ˈɒdəsi/; Greek: Ὀδύσσεια, Odýsseia) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia. The poem mainly centers on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War. In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal...
published: 15 Dec 2014 -
A Cyclic Life - Clannad AMV (Paperman)
Second AMV for SakuraCon 2014. This is the first time I've made a Romance/Emotional/NON-ACTION AMV. I loved the short Paperman and this anime makes me cry. I think it came out well. Anime - Clannad and Clannad: After Story Song - Paperman Artist - Christophe Beck Enjoy. -------------------------------------------------------------------- THIS VIDEO IS STRICTLY FAN-MADE AND NON-PROFIT! I DO NOT OWN NOR DO I CLAIM TO OWN ANY OF THE AUDIO OR VIDEO CONTENT USED IN THIS VID! ALL RIGHTS TO RESPECTIVE OWNERS! "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit...
published: 19 Feb 2014 -
Time is An Illusion | The Flow of Time is an Illusion
Time is An Illusion | The Flow of Time is an Illusion The quantum universe is static. Nothing happens; there is being but no becoming. The flow of time and motion are illusions. -Julian Barbour "The Nature of Time" Forever - is composed of Nows- 'Tis not a different time- Except for Infiniteness- And Latitude of Home- From "Forever - is composed of Nows" by Emily Dickinson "Time isn't precious at all, because it is an illusion. What you perceive as precious is not time but the one point that is out time: the Now." -Eckhardt Tolle, "The Power of Now: A Guide to Spiritual Enlightenment." "My basic idea is that time as such does not exist. There is no invisible river of time. But there are things that you could call instants of time, or 'Nows.' As we live, we seem to move through a ...
published: 28 May 2015 -
TEDxPalermo - Tishani Doshi - The Luxury of Slowness
The TEDxPalermo's Talk by the Indian poet, writer and dancer Tishani Doshi was in the middle of a rainy April30th. The location due to bad weather was changed at the very last minute and studio427 were welcoming our event. The Time is the focus of the Talk. She explain us that there are many kinds of time, there is cosmic time, cyclic time, linear time, calendar time, day time, night time, work time, dream time, permanent time and impermanent time and we understand that time is a strange thing because sometimes a day can feel like a lifetime and sometimes a lifetime can feel like a dream. The obsession has to do with an age which is incredible fast, she explain us something about slowness we are almost losing. She shows us her dance work, just one production in 10 years, as a performance d...
published: 13 May 2011 -
Error Detection and Correction using Hamming code - Simplified with Animation
Algorithm Series ---------------------------- This tutorial explains Error detection and correction using Hamming code in the simplified way. Please share your valuable feedback. For more technical videos subscribe this channel.
published: 14 Feb 2017 -
Mihai Popoviciu - Cannon Poets - "Home LP" (BOND12038)
Digital Download ➤ http://classic.beatport.com/release/home/1768021 Album 2x12" ➤ http://www.decks.de/t/mihai_popoviciu-home/c74-8e ➤ http://www.deejay.de/BOND12038_-_Mihai_Popoviciu_-_Home_-_2x12inch__225602 ➤ http://www.juno.co.uk/products/mihai-popoviciu-home/612392-01 Premium Edition 2x12" + mixed CD version ➤ http://www.decks.de/t/mihai_popoviciu-home/c7a-ry ➤ http://www.deejay.de/BOND12038SP_-_Mihai_Popoviciu_-_Home_-_2x12inch__229423 ➤ http://www.juno.co.uk/products/mihai-popoviciu-home/609162-01 CD version ➤ http://www.jpc.de/jpcng/poprock/detail/-/art/mihai-popoviciu-home/hnum/2994053 ➤ http://www.amazon.de/Home-Mihai-Popoviciu/dp/B01EZAWTVI/ref=sr_1_1?ie=UTF8&qid;=1464811622&sr;=8-1&keywords;=mihai+popoviciu ➤ http://www.saturn.de/de/product/_mihai-popoviciu-home-electronica-dan...
published: 08 Jul 2016 -
Mihai Popoviciu - Focus [Bondage Music]
Premiere: Mihai Popoviciu - Focus (Original Mix) BUY: http://www.deejay.de/BOND12038_-_Mihai_Popoviciu_-_Home_-_2x12inch__225602 Cyclic records boss Mihai Popoviciu has been literally on fire lately delivering a super-consistent flow of deep and somewhat minimal releases and remixes. His new album Home is out May 4th 2016 on Bondage Music and already getting plays and support by Nicole Moudaber, Audiojack, Ralph Lawson, Anja Schneider, Francesca Lombardo and Sidney Charles. Track list: 1. Mihai Popoviciu - Focus 2. Mihai Popoviciu - ACK 3. Mihai Popoviciu - Music 999 4. Mihai Popoviciu - Cannon Poets 5. Mihai Popoviciu - Hypnosia 6. Mihai Popoviciu - Sunshine 7. Mihai Popoviciu - Havana 8. Mihai Popoviciu - Data On Data 9. Mihai Popoviciu - Triumph 10. Mihai Popoviciu - Tentacl...
published: 04 May 2016 -
Odysseys of Homer chapter 12 to 14 Audiobook
The Odysseys of Homer by Homer HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634) The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Lati...
published: 07 Jun 2016 -
Odysseys of Homer Chapter 15 Audiobook
The Odysseys of Homer by Homer HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634) The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Lati...
published: 07 Jun 2016 -
Sub Luna- Nightfall
Musician: Sub Luna Album: Awake! Official FB Page: http://www.facebook.com/subluna Myspace: http://www.myspace.com/subluna http://www.reverbnation.com/subluna http://www.cycliclaw.com/ Sub Luna was formed in Eskilstuna, Sweden in 2004 by Mikael Lindblom and Fredrik Sööberg. That same year their self-released EP "I" caught the attention of Portuguese label Dagaz Music which went on to release Sub Luna's debut album "In the Shade of Time" in 2006. After having signed with Canadian label Cyclic Law - 2010 brought the release of their second album "Awake!". Since summer 2010 Mikael Lindblom is the only permanent member of Sub Luna.
published: 02 Feb 2011 -
Silsila - (documentation at Venice Biennale)
Silsila — Arabic for ‘chain’ or ‘link’— is a multi-media installation depicting Alshaibi’s three-year cyclic journey through the significant deserts and endangered water sources of the Middle East and North African region and across to the bountiful waters the Maldives. By linking the performances in the deserts and waters of the historical Islamic world with the nomadic traditions of the region, and the travel journals of the great 14th century Eastern explorer, Ibn Battuta, Alshaibi seeks to unearth a story of continuity within the context of a threatened future. Silsila takes its inspiration from the Sufi poet Assadi Ali, who began each line of his poems, “I, the Desert”. An excerpt from his poem calls for us to recognize our common identity: “the grains of my sand rush in asking / begg...
published: 13 Jun 2013 -
Ophelia's Gaze - a chamber opera
Ophelia's Gaze (2008) - a chamber opera music, live audio and video, staging - Steve EVERETT text - Bellocq's Ophelia (Graywolf Press, 2002) - Natasha TRETHEWEY soprano - Katherine BLUMENTHAL strings - VEGA QUARTET video "Shiver" - Isabelle DEHAY costume and stage design - Leslie TAYLOR Scenes 1. Bellocq’s Ophelia voice, speaker (N. Trethewey), digital audio 2. Letter Home - voice, quartet, digital audio 3. Letters from Storyville: December 1910 - speaker, digital audio 4. Countess P’s Advice - voice, quartet 5. February 1911, Spectrum - speaker, digital audio 6. March, 1911 - speaker, quartet 7. Bellocq - speaker, digital audio 8. Vignette - voice, cello, live motion capture video 9. Shiver - voice, digital audio, video 10. (Self) Portrait, Postcard - speaker, digital audio Notes - Thi...
published: 27 Dec 2008 -
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...
published: 13 Aug 2011 -
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 ...
published: 01 Jan 2011 -
The Lammas Wickerman
The Druids Oath; We swear by Peace and Love to stand, heart to heart and hand in hand, Mark, Oh Spirit, and hear us now, confirming this our sacred vow! Lammas; The mighty wheel of the year has turned upon us once more, And I give thanks for the bountiful harvest. All hail the Sun, whose golden rays have bestowed magic upon the growing fruits of our lands. All hail the Sun He has ripened our fields And blessed us by grain without number. This joyous time is the first harvest of Lammas! So All hail the great Sun And He will come again. And now all about us as days do shorten, we stand ready for the dark time ahead. With corn stored in abundance against the cold darkness of winter we face the bleak hardship without any dread. So mote it be! Lammas c. The Bard Of Ely, 2011. Poems narrated...
published: 25 Jun 2011 -
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 laye...
published: 26 Dec 2010 -
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 COMPUT...
published: 24 Aug 2011 -
GESTALT WORK ON AWARENESS WITH BEL part 4 (HQ)
part 4 (last part) 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. at the end of the session i encourage bel to recall the overall path she has traversed during the entire two hour session. i ask her to open herself to discovering any big picture, pattern, "gestalt" (means "pattern" in german) that emerged during the entire process. if we see the gestalt therapy pilgrim as a sort of god of a world he/she is creating moment by moment, then this last step is like the sabbath at the end of the seven days on which the "lord" rests and integra...
published: 02 Jan 2011 -
FRANKLYN WEPNER TEACHER gestalt therapy with bel 3
part 3 of a 2 hour gestalt therapy session on awareness with actress bel baca BY FRANKLYN WEPNER SEPTEMBER 1, 2006 fwep@earthlink.net 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 supe...
published: 03 Oct 2010 -
FRANKLYN WEPNER TEACHER gestalt therapy with bel 5
part 5 of a two hour gestalt session on awareness with actress bel baca. BY FRANKLYN WEPNER SEPTEMBER 1, 2006 fwep@earthlink.net 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 superobjec...
published: 10 Oct 2010
The Odyssey [FULL AUDIOBOOK] PART 2 of 2
- Order: Reorder
- Duration: 6:12:39
- Updated: 15 Dec 2014
- views: 371
The Odyssey [FULL AUDIOBOOK] PART 2 of 2
The Odyssey (/ˈɒdəsi/; Greek: Ὀδύσσεια, Odýsseia) is one of two major ancient Greek epic poems attributed to Homer. ...
The Odyssey [FULL AUDIOBOOK] PART 2 of 2
The Odyssey (/ˈɒdəsi/; Greek: Ὀδύσσεια, Odýsseia) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly centers on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War. In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read.[2] The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and serfs, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta, but in one source was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets).
https://wn.com/The_Odyssey_Full_Audiobook_Part_2_Of_2
The Odyssey [FULL AUDIOBOOK] PART 2 of 2
The Odyssey (/ˈɒdəsi/; Greek: Ὀδύσσεια, Odýsseia) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly centers on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War. In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read.[2] The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and serfs, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta, but in one source was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets).
- published: 15 Dec 2014
- views: 371
A Cyclic Life - Clannad AMV (Paperman)
- Order: Reorder
- Duration: 5:18
- Updated: 19 Feb 2014
- views: 297
Second AMV for SakuraCon 2014. This is the first time I've made a Romance/Emotional/NON-ACTION AMV. I loved the short Paperman and this anime makes me cry. I th...
Second AMV for SakuraCon 2014. This is the first time I've made a Romance/Emotional/NON-ACTION AMV. I loved the short Paperman and this anime makes me cry. I think it came out well.
Anime - Clannad and Clannad: After Story
Song - Paperman
Artist - Christophe Beck
Enjoy.
--------------------------------------------------------------------
THIS VIDEO IS STRICTLY FAN-MADE AND NON-PROFIT! I DO NOT OWN NOR DO I CLAIM TO OWN ANY OF THE AUDIO OR VIDEO CONTENT USED IN THIS VID! ALL RIGHTS TO RESPECTIVE OWNERS!
"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."
https://wn.com/A_Cyclic_Life_Clannad_Amv_(Paperman)
Second AMV for SakuraCon 2014. This is the first time I've made a Romance/Emotional/NON-ACTION AMV. I loved the short Paperman and this anime makes me cry. I think it came out well.
Anime - Clannad and Clannad: After Story
Song - Paperman
Artist - Christophe Beck
Enjoy.
--------------------------------------------------------------------
THIS VIDEO IS STRICTLY FAN-MADE AND NON-PROFIT! I DO NOT OWN NOR DO I CLAIM TO OWN ANY OF THE AUDIO OR VIDEO CONTENT USED IN THIS VID! ALL RIGHTS TO RESPECTIVE OWNERS!
"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."
- published: 19 Feb 2014
- views: 297
Time is An Illusion | The Flow of Time is an Illusion
- Order: Reorder
- Duration: 1:51
- Updated: 28 May 2015
- views: 286
Time is An Illusion | The Flow of Time is an Illusion
The quantum universe is static. Nothing happens; there is being but no becoming. The flow of time and mo...
Time is An Illusion | The Flow of Time is an Illusion
The quantum universe is static. Nothing happens; there is being but no becoming. The flow of time and motion are illusions.
-Julian Barbour "The Nature of Time"
Forever - is composed of Nows-
'Tis not a different time-
Except for Infiniteness-
And Latitude of Home-
From "Forever - is composed of Nows" by Emily Dickinson
"Time isn't precious at all, because it is an illusion. What you perceive as precious is not time but the one point that is out time: the Now."
-Eckhardt Tolle, "The Power of Now: A Guide to Spiritual Enlightenment."
"My basic idea is that time as such does not exist. There is no invisible river of time. But there are things that you could call instants of time, or 'Nows.' As we live, we seem to move through a succession of Nows."
-Julian Barbour in an interview with edge.org
Time is An Illusion - https://www.youtube.com/watch?v=wanIm7yFOdg
https://www.eckharttolle.com/
http://www.platonia.com/ Julian Barbour's official website
http://www.poets.org/poetsorg/poet/emily-dickinson
http://arxiv.org/pdf/0903.3489.pdf
https://wn.com/Time_Is_An_Illusion_|_The_Flow_Of_Time_Is_An_Illusion
Time is An Illusion | The Flow of Time is an Illusion
The quantum universe is static. Nothing happens; there is being but no becoming. The flow of time and motion are illusions.
-Julian Barbour "The Nature of Time"
Forever - is composed of Nows-
'Tis not a different time-
Except for Infiniteness-
And Latitude of Home-
From "Forever - is composed of Nows" by Emily Dickinson
"Time isn't precious at all, because it is an illusion. What you perceive as precious is not time but the one point that is out time: the Now."
-Eckhardt Tolle, "The Power of Now: A Guide to Spiritual Enlightenment."
"My basic idea is that time as such does not exist. There is no invisible river of time. But there are things that you could call instants of time, or 'Nows.' As we live, we seem to move through a succession of Nows."
-Julian Barbour in an interview with edge.org
Time is An Illusion - https://www.youtube.com/watch?v=wanIm7yFOdg
https://www.eckharttolle.com/
http://www.platonia.com/ Julian Barbour's official website
http://www.poets.org/poetsorg/poet/emily-dickinson
http://arxiv.org/pdf/0903.3489.pdf
- published: 28 May 2015
- views: 286
TEDxPalermo - Tishani Doshi - The Luxury of Slowness
- Order: Reorder
- Duration: 11:59
- Updated: 13 May 2011
- views: 7775
The TEDxPalermo's Talk by the Indian poet, writer and dancer Tishani Doshi was in the middle of a rainy April30th. The location due to bad weather was changed a...
The TEDxPalermo's Talk by the Indian poet, writer and dancer Tishani Doshi was in the middle of a rainy April30th. The location due to bad weather was changed at the very last minute and studio427 were welcoming our event. The Time is the focus of the Talk. She explain us that there are many kinds of time, there is cosmic time, cyclic time, linear time, calendar time, day time, night time, work time, dream time, permanent time and impermanent time and we understand that time is a strange thing because sometimes a day can feel like a lifetime and sometimes a lifetime can feel like a dream. The obsession has to do with an age which is incredible fast, she explain us something about slowness we are almost losing. She shows us her dance work, just one production in 10 years, as a performance done with the Chandralekha's troupe (which by the way also performed in Palermo once) and tells us that Slowness has the only Luxury we have been left in our time.
Tishani was born and lives in Madras, India. Being the product of two cultures (Gujarati and Welsh), and the middle of three children. At 18 she left India for the US to study Business Administration at Queens College in Charlotte, North Carolina. During her undergraduate years she worked as a baby-sitter, house-cleaner, librarian and cashier in the student's snack bar. Shei moved to London in 1999 and landed her first and last fulltime job as the assistant to the advertising department at Harper's & Queen magazine. In 2001 Tishani moved back to India and at 26, she began a career as a dancer. For the next five years she performed with Chandralekha's troupe in India and abroad. She also worked as a freelance journalist, tinkered with poems and began working on a novel. In 2006, she won the All-India Poetry competition for her poem, "The Day We Went to the Sea." Tishani published her debut collection of poetry, Countries of the Body, to critical acclaim in 2006. The book won the prestigious Forward Prize for Best First Collection. Tishani's first novel, The Pleasure Seekers, is published by Bloomsbury in the UK and USA, and Penguin India. It is currently being translated into German, Spanish, Italian, French, Serbian, Croatian and Polish.
In the spirit of "ideas worth spreading", TED has created a program called TEDx, of local events, organized independently, that bring people together to share an experience similar to the one you live with TED. The TED Conference provides general guidance for all the TEDx events, but local events are made independently.
http://www.tedxpalermo.com
https://wn.com/Tedxpalermo_Tishani_Doshi_The_Luxury_Of_Slowness
The TEDxPalermo's Talk by the Indian poet, writer and dancer Tishani Doshi was in the middle of a rainy April30th. The location due to bad weather was changed at the very last minute and studio427 were welcoming our event. The Time is the focus of the Talk. She explain us that there are many kinds of time, there is cosmic time, cyclic time, linear time, calendar time, day time, night time, work time, dream time, permanent time and impermanent time and we understand that time is a strange thing because sometimes a day can feel like a lifetime and sometimes a lifetime can feel like a dream. The obsession has to do with an age which is incredible fast, she explain us something about slowness we are almost losing. She shows us her dance work, just one production in 10 years, as a performance done with the Chandralekha's troupe (which by the way also performed in Palermo once) and tells us that Slowness has the only Luxury we have been left in our time.
Tishani was born and lives in Madras, India. Being the product of two cultures (Gujarati and Welsh), and the middle of three children. At 18 she left India for the US to study Business Administration at Queens College in Charlotte, North Carolina. During her undergraduate years she worked as a baby-sitter, house-cleaner, librarian and cashier in the student's snack bar. Shei moved to London in 1999 and landed her first and last fulltime job as the assistant to the advertising department at Harper's & Queen magazine. In 2001 Tishani moved back to India and at 26, she began a career as a dancer. For the next five years she performed with Chandralekha's troupe in India and abroad. She also worked as a freelance journalist, tinkered with poems and began working on a novel. In 2006, she won the All-India Poetry competition for her poem, "The Day We Went to the Sea." Tishani published her debut collection of poetry, Countries of the Body, to critical acclaim in 2006. The book won the prestigious Forward Prize for Best First Collection. Tishani's first novel, The Pleasure Seekers, is published by Bloomsbury in the UK and USA, and Penguin India. It is currently being translated into German, Spanish, Italian, French, Serbian, Croatian and Polish.
In the spirit of "ideas worth spreading", TED has created a program called TEDx, of local events, organized independently, that bring people together to share an experience similar to the one you live with TED. The TED Conference provides general guidance for all the TEDx events, but local events are made independently.
http://www.tedxpalermo.com
- published: 13 May 2011
- views: 7775
Error Detection and Correction using Hamming code - Simplified with Animation
- Order: Reorder
- Duration: 13:30
- Updated: 14 Feb 2017
- views: 192
Algorithm Series
----------------------------
This tutorial explains Error detection and correction using Hamming code in the simplified way.
Please share your...
Algorithm Series
----------------------------
This tutorial explains Error detection and correction using Hamming code in the simplified way.
Please share your valuable feedback. For more technical videos subscribe this channel.
https://wn.com/Error_Detection_And_Correction_Using_Hamming_Code_Simplified_With_Animation
Algorithm Series
----------------------------
This tutorial explains Error detection and correction using Hamming code in the simplified way.
Please share your valuable feedback. For more technical videos subscribe this channel.
- published: 14 Feb 2017
- views: 192
Mihai Popoviciu - Cannon Poets - "Home LP" (BOND12038)
- Order: Reorder
- Duration: 7:26
- Updated: 08 Jul 2016
- views: 1876
Digital Download
➤ http://classic.beatport.com/release/home/1768021
Album 2x12"
➤ http://www.decks.de/t/mihai_popoviciu-home/c74-8e
➤ http://www.deejay.de/BON...
Digital Download
➤ http://classic.beatport.com/release/home/1768021
Album 2x12"
➤ http://www.decks.de/t/mihai_popoviciu-home/c74-8e
➤ http://www.deejay.de/BOND12038_-_Mihai_Popoviciu_-_Home_-_2x12inch__225602
➤ http://www.juno.co.uk/products/mihai-popoviciu-home/612392-01
Premium Edition 2x12" + mixed CD version
➤ http://www.decks.de/t/mihai_popoviciu-home/c7a-ry
➤ http://www.deejay.de/BOND12038SP_-_Mihai_Popoviciu_-_Home_-_2x12inch__229423
➤ http://www.juno.co.uk/products/mihai-popoviciu-home/609162-01
CD version
➤ http://www.jpc.de/jpcng/poprock/detail/-/art/mihai-popoviciu-home/hnum/2994053
➤ http://www.amazon.de/Home-Mihai-Popoviciu/dp/B01EZAWTVI/ref=sr_1_1?ie=UTF8&qid;=1464811622&sr;=8-1&keywords;=mihai+popoviciu
➤ http://www.saturn.de/de/product/_mihai-popoviciu-home-electronica-dance-cd-2133744.html
Bondage-Music:
http://www.bondage-music.com
https://www.facebook.com/BondageRecords/
https://soundcloud.com/bondage-music
Mihai Popoviciu:
https://www.facebook.com/mihaipopoviciu1
https://soundcloud.com/mihai-popoviciu-1
https://wn.com/Mihai_Popoviciu_Cannon_Poets_Home_Lp_(Bond12038)
Digital Download
➤ http://classic.beatport.com/release/home/1768021
Album 2x12"
➤ http://www.decks.de/t/mihai_popoviciu-home/c74-8e
➤ http://www.deejay.de/BOND12038_-_Mihai_Popoviciu_-_Home_-_2x12inch__225602
➤ http://www.juno.co.uk/products/mihai-popoviciu-home/612392-01
Premium Edition 2x12" + mixed CD version
➤ http://www.decks.de/t/mihai_popoviciu-home/c7a-ry
➤ http://www.deejay.de/BOND12038SP_-_Mihai_Popoviciu_-_Home_-_2x12inch__229423
➤ http://www.juno.co.uk/products/mihai-popoviciu-home/609162-01
CD version
➤ http://www.jpc.de/jpcng/poprock/detail/-/art/mihai-popoviciu-home/hnum/2994053
➤ http://www.amazon.de/Home-Mihai-Popoviciu/dp/B01EZAWTVI/ref=sr_1_1?ie=UTF8&qid;=1464811622&sr;=8-1&keywords;=mihai+popoviciu
➤ http://www.saturn.de/de/product/_mihai-popoviciu-home-electronica-dance-cd-2133744.html
Bondage-Music:
http://www.bondage-music.com
https://www.facebook.com/BondageRecords/
https://soundcloud.com/bondage-music
Mihai Popoviciu:
https://www.facebook.com/mihaipopoviciu1
https://soundcloud.com/mihai-popoviciu-1
- published: 08 Jul 2016
- views: 1876
Mihai Popoviciu - Focus [Bondage Music]
- Order: Reorder
- Duration: 7:18
- Updated: 04 May 2016
- views: 15089
Premiere: Mihai Popoviciu - Focus (Original Mix)
BUY: http://www.deejay.de/BOND12038_-_Mihai_Popoviciu_-_Home_-_2x12inch__225602
Cyclic records boss Mihai Pop...
Premiere: Mihai Popoviciu - Focus (Original Mix)
BUY: http://www.deejay.de/BOND12038_-_Mihai_Popoviciu_-_Home_-_2x12inch__225602
Cyclic records boss Mihai Popoviciu has been literally on fire lately delivering a super-consistent flow of deep and somewhat minimal releases and remixes.
His new album Home is out May 4th 2016 on Bondage Music and already getting plays and support by Nicole Moudaber, Audiojack, Ralph Lawson, Anja Schneider, Francesca Lombardo and Sidney Charles.
Track list:
1. Mihai Popoviciu - Focus
2. Mihai Popoviciu - ACK
3. Mihai Popoviciu - Music 999
4. Mihai Popoviciu - Cannon Poets
5. Mihai Popoviciu - Hypnosia
6. Mihai Popoviciu - Sunshine
7. Mihai Popoviciu - Havana
8. Mihai Popoviciu - Data On Data
9. Mihai Popoviciu - Triumph
10. Mihai Popoviciu - Tentacle Operated
11. Mihai Popoviciu - Sandstone Folder
12. Mihai Popoviciu - Paranoia
https://wn.com/Mihai_Popoviciu_Focus_Bondage_Music
Premiere: Mihai Popoviciu - Focus (Original Mix)
BUY: http://www.deejay.de/BOND12038_-_Mihai_Popoviciu_-_Home_-_2x12inch__225602
Cyclic records boss Mihai Popoviciu has been literally on fire lately delivering a super-consistent flow of deep and somewhat minimal releases and remixes.
His new album Home is out May 4th 2016 on Bondage Music and already getting plays and support by Nicole Moudaber, Audiojack, Ralph Lawson, Anja Schneider, Francesca Lombardo and Sidney Charles.
Track list:
1. Mihai Popoviciu - Focus
2. Mihai Popoviciu - ACK
3. Mihai Popoviciu - Music 999
4. Mihai Popoviciu - Cannon Poets
5. Mihai Popoviciu - Hypnosia
6. Mihai Popoviciu - Sunshine
7. Mihai Popoviciu - Havana
8. Mihai Popoviciu - Data On Data
9. Mihai Popoviciu - Triumph
10. Mihai Popoviciu - Tentacle Operated
11. Mihai Popoviciu - Sandstone Folder
12. Mihai Popoviciu - Paranoia
- published: 04 May 2016
- views: 15089
Odysseys of Homer chapter 12 to 14 Audiobook
- Order: Reorder
- Duration: 2:33:31
- Updated: 07 Jun 2016
- views: 14
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Uly...
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin translations. Chapman's translation has been admired by many, including John Keats and others. Many of these stories are familiar to us, Ulysses and the Sirens, Circe turning his crew to swine, their escape from the Cyclops on the bellies of his sheep, but Chapman's version includes violent episodes and suggestive innuendo that I don't recall from my childhood days. (Introduction by Fritz)
Genre(s): Classics (Antiquity), Epics
Language: English
Librivox
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[3] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). wikipedia
https://wn.com/Odysseys_Of_Homer_Chapter_12_To_14_Audiobook
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin translations. Chapman's translation has been admired by many, including John Keats and others. Many of these stories are familiar to us, Ulysses and the Sirens, Circe turning his crew to swine, their escape from the Cyclops on the bellies of his sheep, but Chapman's version includes violent episodes and suggestive innuendo that I don't recall from my childhood days. (Introduction by Fritz)
Genre(s): Classics (Antiquity), Epics
Language: English
Librivox
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[3] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). wikipedia
- published: 07 Jun 2016
- views: 14
Odysseys of Homer Chapter 15 Audiobook
- Order: Reorder
- Duration: 41:00
- Updated: 07 Jun 2016
- views: 8
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Uly...
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin translations. Chapman's translation has been admired by many, including John Keats and others. Many of these stories are familiar to us, Ulysses and the Sirens, Circe turning his crew to swine, their escape from the Cyclops on the bellies of his sheep, but Chapman's version includes violent episodes and suggestive innuendo that I don't recall from my childhood days. (Introduction by Fritz)
Genre(s): Classics (Antiquity), Epics
Language: English
Librivox
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[3] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). wikipedia
https://wn.com/Odysseys_Of_Homer_Chapter_15_Audiobook
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin translations. Chapman's translation has been admired by many, including John Keats and others. Many of these stories are familiar to us, Ulysses and the Sirens, Circe turning his crew to swine, their escape from the Cyclops on the bellies of his sheep, but Chapman's version includes violent episodes and suggestive innuendo that I don't recall from my childhood days. (Introduction by Fritz)
Genre(s): Classics (Antiquity), Epics
Language: English
Librivox
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[3] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). wikipedia
- published: 07 Jun 2016
- views: 8
Sub Luna- Nightfall
- Order: Reorder
- Duration: 5:15
- Updated: 02 Feb 2011
- views: 1756
Musician: Sub Luna
Album: Awake!
Official FB Page:
http://www.facebook.com/subluna
Myspace:
http://www.myspace.com/subluna
http://www.reverbnation.c...
Musician: Sub Luna
Album: Awake!
Official FB Page:
http://www.facebook.com/subluna
Myspace:
http://www.myspace.com/subluna
http://www.reverbnation.com/subluna
http://www.cycliclaw.com/
Sub Luna was formed in Eskilstuna, Sweden in 2004 by Mikael Lindblom and Fredrik Sööberg. That same year their self-released EP "I" caught the attention of Portuguese label Dagaz Music which went on to release Sub Luna's debut album "In the Shade of Time" in 2006. After having signed with Canadian label Cyclic Law - 2010 brought the release of their second album "Awake!". Since summer 2010 Mikael Lindblom is the only permanent member of Sub Luna.
https://wn.com/Sub_Luna_Nightfall
Musician: Sub Luna
Album: Awake!
Official FB Page:
http://www.facebook.com/subluna
Myspace:
http://www.myspace.com/subluna
http://www.reverbnation.com/subluna
http://www.cycliclaw.com/
Sub Luna was formed in Eskilstuna, Sweden in 2004 by Mikael Lindblom and Fredrik Sööberg. That same year their self-released EP "I" caught the attention of Portuguese label Dagaz Music which went on to release Sub Luna's debut album "In the Shade of Time" in 2006. After having signed with Canadian label Cyclic Law - 2010 brought the release of their second album "Awake!". Since summer 2010 Mikael Lindblom is the only permanent member of Sub Luna.
- published: 02 Feb 2011
- views: 1756
Silsila - (documentation at Venice Biennale)
- Order: Reorder
- Duration: 3:57
- Updated: 10 Apr 2014
- views: 543
Silsila — Arabic for ‘chain’ or ‘link’— is a multi-media installation depicting Alshaibi’s three-year cyclic journey through the significant deserts and endange...
Silsila — Arabic for ‘chain’ or ‘link’— is a multi-media installation depicting Alshaibi’s three-year cyclic journey through the significant deserts and endangered water sources of the Middle East and North African region and across to the bountiful waters the Maldives. By linking the performances in the deserts and waters of the historical Islamic world with the nomadic traditions of the region, and the travel journals of the great 14th century Eastern explorer, Ibn Battuta, Alshaibi seeks to unearth a story of continuity within the context of a threatened future. Silsila takes its inspiration from the Sufi poet Assadi Ali, who began each line of his poems, “I, the Desert”. An excerpt from his poem calls for us to recognize our common identity: “the grains of my sand rush in asking / begging You [Allah] to keep my descendents / and nation united”. Silsila is a story of a shared history and soon to be written future — the tales of the climate refugee and its geographic voice, and our search for connection with each other as interdependent peoples and nations plagued by an unthinkable future.
Courtesy of Ayyam Gallery
Music composed by Grey Filastine,
featuring Brent Arnold (cello) and Abdel Hak (violin)
https://wn.com/Silsila_(Documentation_At_Venice_Biennale)
Silsila — Arabic for ‘chain’ or ‘link’— is a multi-media installation depicting Alshaibi’s three-year cyclic journey through the significant deserts and endangered water sources of the Middle East and North African region and across to the bountiful waters the Maldives. By linking the performances in the deserts and waters of the historical Islamic world with the nomadic traditions of the region, and the travel journals of the great 14th century Eastern explorer, Ibn Battuta, Alshaibi seeks to unearth a story of continuity within the context of a threatened future. Silsila takes its inspiration from the Sufi poet Assadi Ali, who began each line of his poems, “I, the Desert”. An excerpt from his poem calls for us to recognize our common identity: “the grains of my sand rush in asking / begging You [Allah] to keep my descendents / and nation united”. Silsila is a story of a shared history and soon to be written future — the tales of the climate refugee and its geographic voice, and our search for connection with each other as interdependent peoples and nations plagued by an unthinkable future.
Courtesy of Ayyam Gallery
Music composed by Grey Filastine,
featuring Brent Arnold (cello) and Abdel Hak (violin)
- published: 13 Jun 2013
- views: 543
Ophelia's Gaze - a chamber opera
- Order: Reorder
- Duration: 1:04:06
- Updated: 06 Apr 2014
- views: 2353
Ophelia's Gaze (2008) - a chamber opera
music, live audio and video, staging - Steve EVERETT
text - Bellocq's Ophelia (Graywolf Press, 2002) - Natasha TRETHEWEY...
Ophelia's Gaze (2008) - a chamber opera
music, live audio and video, staging - Steve EVERETT
text - Bellocq's Ophelia (Graywolf Press, 2002) - Natasha TRETHEWEY
soprano - Katherine BLUMENTHAL
strings - VEGA QUARTET
video "Shiver" - Isabelle DEHAY
costume and stage design - Leslie TAYLOR
Scenes
1. Bellocq’s Ophelia voice, speaker (N. Trethewey), digital audio
2. Letter Home - voice, quartet, digital audio
3. Letters from Storyville: December 1910 - speaker, digital audio
4. Countess P’s Advice - voice, quartet
5. February 1911, Spectrum - speaker, digital audio
6. March, 1911 - speaker, quartet
7. Bellocq - speaker, digital audio
8. Vignette - voice, cello, live motion capture video
9. Shiver - voice, digital audio, video
10. (Self) Portrait, Postcard - speaker, digital audio
Notes - This is a monodrama structured as a reverie on Ophelia, the young girl portrayed in Emory poet, Natasha Trethewey’s collection, Bellocq’s Ophelia. The set of poems was written as a narrative sequence and contains the imagined thoughts and perceptions of one of the young prostitutes photographed by E. J. Bellocq in 1912 who worked in a brothel in the Storyville section of New Orleans. The aural-visual relationships in my composition will unfold as a series of tableau using the consciousness of dreams, memories, and reveries described in French philosopher Gaston Bachelard’s last work, La Poétique de la Réverie (1960).
The text is sung and spoken by a soprano/narrator who encounters multiple reflections of her own image and the environment in which she exists or imagines. She interacts musically with the string quartet members and visually with her own images reflected in video “mirrors.” Video cameras and microphones are used to transform her visual identity and voice through interactive computer-processing programs. Technology used in the performance include MaxMSP live music processing environment, a hemispherical audio speaker array, and an interactive video motion capture system developed for this production. This video system consists of infrared light, motion-capture hardware combined with the Eyecon Motion Sensing software and Isadora Graphic Programming Environment.
Biographies
Steve Everett, composer
Steve Everett is Professor of Music and teaches composition, computer music, and directs the Music-Audio Research Center at Emory University. In addition he has recently been a visiting professor of composition at Princeton University, Eastman School of Music, Conservatoire National Supérieur de Musique de Paris, the Conservatoire de Musique de Genève in Switzerland, Rotterdam Conservatory of Music, and Utrecht School of the Arts. Many of his recent compositions involve performers with computer-controlled electronics and have been performed in seventeen different countries throughout Europe, Asia, and North America, including at IRCAM and INA-GRM Radio France in Paris, Orgelpark in Amsterdam, The Esplanade in Singapore, University of Göteborg-Sweden, Korea Computer Music Festival in Seoul, Royal Northern College of Music in England, Amerika Haus in Cologne-Germany, Tokyo Denki University, and Lincoln Center, Carnegie Hall, and Merkin Hall in New York. Composition awards have been received from the Rockefeller Foundation, Asian Cultural Council, Chamber Music America, American Composers Forum, and International Trumpet Guild. He is recorded on SCI, Crystal, Mark, Frog Peak and ACA Digital Records. He has been a resident research fellow at the Rockefeller Study Center in Bellagio, Italy, Liguria Foundation in Bogliasco, Italy, and at the Center for Humanistic Inquiry at Emory University. In 1998 he received the Mayor’s Fellowship in the Arts, awarded by the City of Atlanta, the city’s highest recognition of artistic achievement. In addition to substantial experience conducting opera and orchestral repertoire, he has presented over 200 works of contemporary music as conductor of Thamyris New Music Ensemble in Atlanta since 1992. His doctoral degree in composition is from the University of Illinois studying with Salvatore Martirano. He also studied composition with Sir Peter Maxwell Davies and Witold Lutoslawski at Dartington Hall in England and has received foundation support for music study in Bali, Java, and India. He served as chair of the Department of Music and interim director of the Center for Humanistic Inquiry at Emory University.
Leslie Taylor, stage designer
Leslie Taylor, the inaugural director of the Center for Creativity & Arts in Emory College, has extensive experience in teaching, design and management. She has designed sets and costumes for over 100 productions. Currently Chair of the Theater Studies Program at Emory University, she also served as the Artistic Director for Theater Emory's 2000-2001 season. She is the resident designer for Theater Emory, and has designed for the GA Shakespeare, the Center for Puppetry Arts, the Alliance Theater, Georgia Ensemble Theater, and Theatri
https://wn.com/Ophelia's_Gaze_A_Chamber_Opera
Ophelia's Gaze (2008) - a chamber opera
music, live audio and video, staging - Steve EVERETT
text - Bellocq's Ophelia (Graywolf Press, 2002) - Natasha TRETHEWEY
soprano - Katherine BLUMENTHAL
strings - VEGA QUARTET
video "Shiver" - Isabelle DEHAY
costume and stage design - Leslie TAYLOR
Scenes
1. Bellocq’s Ophelia voice, speaker (N. Trethewey), digital audio
2. Letter Home - voice, quartet, digital audio
3. Letters from Storyville: December 1910 - speaker, digital audio
4. Countess P’s Advice - voice, quartet
5. February 1911, Spectrum - speaker, digital audio
6. March, 1911 - speaker, quartet
7. Bellocq - speaker, digital audio
8. Vignette - voice, cello, live motion capture video
9. Shiver - voice, digital audio, video
10. (Self) Portrait, Postcard - speaker, digital audio
Notes - This is a monodrama structured as a reverie on Ophelia, the young girl portrayed in Emory poet, Natasha Trethewey’s collection, Bellocq’s Ophelia. The set of poems was written as a narrative sequence and contains the imagined thoughts and perceptions of one of the young prostitutes photographed by E. J. Bellocq in 1912 who worked in a brothel in the Storyville section of New Orleans. The aural-visual relationships in my composition will unfold as a series of tableau using the consciousness of dreams, memories, and reveries described in French philosopher Gaston Bachelard’s last work, La Poétique de la Réverie (1960).
The text is sung and spoken by a soprano/narrator who encounters multiple reflections of her own image and the environment in which she exists or imagines. She interacts musically with the string quartet members and visually with her own images reflected in video “mirrors.” Video cameras and microphones are used to transform her visual identity and voice through interactive computer-processing programs. Technology used in the performance include MaxMSP live music processing environment, a hemispherical audio speaker array, and an interactive video motion capture system developed for this production. This video system consists of infrared light, motion-capture hardware combined with the Eyecon Motion Sensing software and Isadora Graphic Programming Environment.
Biographies
Steve Everett, composer
Steve Everett is Professor of Music and teaches composition, computer music, and directs the Music-Audio Research Center at Emory University. In addition he has recently been a visiting professor of composition at Princeton University, Eastman School of Music, Conservatoire National Supérieur de Musique de Paris, the Conservatoire de Musique de Genève in Switzerland, Rotterdam Conservatory of Music, and Utrecht School of the Arts. Many of his recent compositions involve performers with computer-controlled electronics and have been performed in seventeen different countries throughout Europe, Asia, and North America, including at IRCAM and INA-GRM Radio France in Paris, Orgelpark in Amsterdam, The Esplanade in Singapore, University of Göteborg-Sweden, Korea Computer Music Festival in Seoul, Royal Northern College of Music in England, Amerika Haus in Cologne-Germany, Tokyo Denki University, and Lincoln Center, Carnegie Hall, and Merkin Hall in New York. Composition awards have been received from the Rockefeller Foundation, Asian Cultural Council, Chamber Music America, American Composers Forum, and International Trumpet Guild. He is recorded on SCI, Crystal, Mark, Frog Peak and ACA Digital Records. He has been a resident research fellow at the Rockefeller Study Center in Bellagio, Italy, Liguria Foundation in Bogliasco, Italy, and at the Center for Humanistic Inquiry at Emory University. In 1998 he received the Mayor’s Fellowship in the Arts, awarded by the City of Atlanta, the city’s highest recognition of artistic achievement. In addition to substantial experience conducting opera and orchestral repertoire, he has presented over 200 works of contemporary music as conductor of Thamyris New Music Ensemble in Atlanta since 1992. His doctoral degree in composition is from the University of Illinois studying with Salvatore Martirano. He also studied composition with Sir Peter Maxwell Davies and Witold Lutoslawski at Dartington Hall in England and has received foundation support for music study in Bali, Java, and India. He served as chair of the Department of Music and interim director of the Center for Humanistic Inquiry at Emory University.
Leslie Taylor, stage designer
Leslie Taylor, the inaugural director of the Center for Creativity & Arts in Emory College, has extensive experience in teaching, design and management. She has designed sets and costumes for over 100 productions. Currently Chair of the Theater Studies Program at Emory University, she also served as the Artistic Director for Theater Emory's 2000-2001 season. She is the resident designer for Theater Emory, and has designed for the GA Shakespeare, the Center for Puppetry Arts, the Alliance Theater, Georgia Ensemble Theater, and Theatri
- published: 27 Dec 2008
- views: 2353
GESTALT WORK ON AWARENESS (HQ) - PART גשטאלט - מודעות - חלק 1
- Order: Reorder
- Duration: 16:19
- Updated: 10 Apr 2014
- views: 19870
HQ. gestalt work on awareness, part 1. hebrew subtitles added.
BY FRANKLYN WEPNER SEPTEMBER 1, 2006...
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
https://wn.com/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
- published: 13 Aug 2011
- views: 19870
GESTALT WORK ON AWARENESS WITH BEL part 3 (HQ)
- Order: Reorder
- Duration: 29:21
- Updated: 10 Apr 2014
- views: 18050
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 w...
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
https://wn.com/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
- published: 01 Jan 2011
- views: 18050
The Lammas Wickerman
- Order: Reorder
- Duration: 6:00
- Updated: 09 Apr 2014
- views: 525
The Druids Oath;
We swear by Peace and Love to stand, heart to heart and hand in hand,
Mark, Oh Spirit, and hear us now, confirming this our sacred vow!
Lammas...
The Druids Oath;
We swear by Peace and Love to stand, heart to heart and hand in hand,
Mark, Oh Spirit, and hear us now, confirming this our sacred vow!
Lammas;
The mighty wheel of the year has turned upon us once more,
And I give thanks for the bountiful harvest.
All hail the Sun, whose golden rays have bestowed magic
upon the growing fruits of our lands.
All hail the Sun He has ripened our fields And blessed us by grain without number.
This joyous time is the first harvest of Lammas!
So All hail the great Sun And He will come again.
And now all about us as days do shorten, we stand ready for the dark time ahead.
With corn stored in abundance against the cold darkness of winter
we face the bleak hardship without any dread.
So mote it be!
Lammas c. The Bard Of Ely, 2011.
Poems narrated by The Bard of Ely.
Welsh Translation kindly provided by Gareth Owen
Rheolwr y Theatr / Theatre Manager, Theatr y Pafiliwn / Pavilion Theatre, Rhyl.
For full details please see Blog here;
( http://celestialelfdanceoflife.blogspot.com/2011/06/lammas-wickerman.html )
The Bard of Ely is an eco-warrior, poet, author, Arthurian Druid, master of herblore, singer-songwriter, techno-folk fusion pioneer, actor and performer originally from Cardiff, Wales.
In the tradition of Welsh Bards such as Taliesin, The Bard of Ely shares his skills as Principal Bard of the Loyal Arthurian Warband Druidic Order (Stonehenge) and Gorsedd of Bards of Caer Abiri (Avebury), as well as across the wide reaching area of his spiritual mission.
In 2002 and 03, The Bard of Ely was both compère for the Avalon Stage at Glastonbury Festival and played there, as well as at the Green Man Festival. The Bard of Ely's albums are avaliable from DMMG Records:
( http://dmmg.webs.com/ ) and at iTunes.
As a writer He has authored Herbs of the Northern Shaman and written widely, including for Permaculture and Feed Your Brain magazines, CJ Stone's Prediction and the NFOP magazine. You can find about more about The Bard of Ely at his Blog ( http://bardofelysays.blogspot.com/ )
Lammas, also called Lughnasadh (Loo-Nah-Sah) in commemoration of The Celtic Sun God Lugh, occurs at the beginning of the harvest season, in the Northern Hemisphere 1st August, in the Southern February 1st.
Lugh, also known as the patron of Bards and Magicians, came to be associated with grain in Celtic mythology because Tailtiu his foster mother died from exhaustion after clearing the great forest so the people could cultivate the lands. Before she died she told them that her son Lugh, the Sun King, would pour his spirit into the grain to sustain them over the long fruitless winters. People honor Her gift and the crops with a day of thanksgiving for the harvest.
Grain has been associated by many cultures with the mystery of death and rebirth for centuries, English folklore represents John Barleycorn as the crop of barley, corresponding to the same cyclic nature of planting, growing, harvesting, death and rebirth.
Sir James Frazer cites John Barleycorn In The Golden Bough as proof of a Pagan cult in England that worshiped a god of vegetation, who was then sacrificed to bring fertility to the fields.
It is tempting to see in this tradition echoes of human sacrifice as portrayed in The Wickerman film (1973), but that is not really what this time is about.
Whilst there was a Celtic ritual of dressing the last sheaf of corn to be harvested in fine clothes, or weaving it into a wicker-like man or woman, it was believed that the Sun 's spirit was trapped in the grain and needed to be set free by fire, so the effigy was burned. This tradition is thought by many to have been the origin of the misconception that Druids made human sacrifices, along with Julius Caesar's politically motivated accounts.
Bright Blessings to you ~
/|\
Grateful thanks to The Bard of Ely for permission to use his song I AM;
(http://www.soundclick.com/bands/page_songInfo.cfm?bandID=76222&songID...31)
https://wn.com/The_Lammas_Wickerman
The Druids Oath;
We swear by Peace and Love to stand, heart to heart and hand in hand,
Mark, Oh Spirit, and hear us now, confirming this our sacred vow!
Lammas;
The mighty wheel of the year has turned upon us once more,
And I give thanks for the bountiful harvest.
All hail the Sun, whose golden rays have bestowed magic
upon the growing fruits of our lands.
All hail the Sun He has ripened our fields And blessed us by grain without number.
This joyous time is the first harvest of Lammas!
So All hail the great Sun And He will come again.
And now all about us as days do shorten, we stand ready for the dark time ahead.
With corn stored in abundance against the cold darkness of winter
we face the bleak hardship without any dread.
So mote it be!
Lammas c. The Bard Of Ely, 2011.
Poems narrated by The Bard of Ely.
Welsh Translation kindly provided by Gareth Owen
Rheolwr y Theatr / Theatre Manager, Theatr y Pafiliwn / Pavilion Theatre, Rhyl.
For full details please see Blog here;
( http://celestialelfdanceoflife.blogspot.com/2011/06/lammas-wickerman.html )
The Bard of Ely is an eco-warrior, poet, author, Arthurian Druid, master of herblore, singer-songwriter, techno-folk fusion pioneer, actor and performer originally from Cardiff, Wales.
In the tradition of Welsh Bards such as Taliesin, The Bard of Ely shares his skills as Principal Bard of the Loyal Arthurian Warband Druidic Order (Stonehenge) and Gorsedd of Bards of Caer Abiri (Avebury), as well as across the wide reaching area of his spiritual mission.
In 2002 and 03, The Bard of Ely was both compère for the Avalon Stage at Glastonbury Festival and played there, as well as at the Green Man Festival. The Bard of Ely's albums are avaliable from DMMG Records:
( http://dmmg.webs.com/ ) and at iTunes.
As a writer He has authored Herbs of the Northern Shaman and written widely, including for Permaculture and Feed Your Brain magazines, CJ Stone's Prediction and the NFOP magazine. You can find about more about The Bard of Ely at his Blog ( http://bardofelysays.blogspot.com/ )
Lammas, also called Lughnasadh (Loo-Nah-Sah) in commemoration of The Celtic Sun God Lugh, occurs at the beginning of the harvest season, in the Northern Hemisphere 1st August, in the Southern February 1st.
Lugh, also known as the patron of Bards and Magicians, came to be associated with grain in Celtic mythology because Tailtiu his foster mother died from exhaustion after clearing the great forest so the people could cultivate the lands. Before she died she told them that her son Lugh, the Sun King, would pour his spirit into the grain to sustain them over the long fruitless winters. People honor Her gift and the crops with a day of thanksgiving for the harvest.
Grain has been associated by many cultures with the mystery of death and rebirth for centuries, English folklore represents John Barleycorn as the crop of barley, corresponding to the same cyclic nature of planting, growing, harvesting, death and rebirth.
Sir James Frazer cites John Barleycorn In The Golden Bough as proof of a Pagan cult in England that worshiped a god of vegetation, who was then sacrificed to bring fertility to the fields.
It is tempting to see in this tradition echoes of human sacrifice as portrayed in The Wickerman film (1973), but that is not really what this time is about.
Whilst there was a Celtic ritual of dressing the last sheaf of corn to be harvested in fine clothes, or weaving it into a wicker-like man or woman, it was believed that the Sun 's spirit was trapped in the grain and needed to be set free by fire, so the effigy was burned. This tradition is thought by many to have been the origin of the misconception that Druids made human sacrifices, along with Julius Caesar's politically motivated accounts.
Bright Blessings to you ~
/|\
Grateful thanks to The Bard of Ely for permission to use his song I AM;
(http://www.soundclick.com/bands/page_songInfo.cfm?bandID=76222&songID...31)
- published: 25 Jun 2011
- views: 525
GESTALT WORK ON AWARENESS WITH BEL pt 2 (HQ)
- Order: Reorder
- Duration: 37:11
- Updated: 10 Apr 2014
- views: 14611
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 feedb...
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
https://wn.com/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
- published: 26 Dec 2010
- views: 14611
GESTALT - AWARENESS PART כותרות בעברית. גשטאלט - מודעות חלק 2 .HQ
- Order: Reorder
- Duration: 25:52
- Updated: 10 Apr 2014
- views: 13704
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...
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
https://wn.com/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
- published: 24 Aug 2011
- views: 13704
GESTALT WORK ON AWARENESS WITH BEL part 4 (HQ)
- Order: Reorder
- Duration: 26:48
- Updated: 10 Apr 2014
- views: 13013
part 4 (last part) of a two hour gestalt session on awareness with actress bel baca. the focus here is "the rhythm of contact and withdrawal", alternating betwe...
part 4 (last part) 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. at the end of the session i encourage bel to recall the overall path she has traversed during the entire two hour session. i ask her to open herself to discovering any big picture, pattern, "gestalt" (means "pattern" in german) that emerged during the entire process. if we see the gestalt therapy pilgrim as a sort of god of a world he/she is creating moment by moment, then this last step is like the sabbath at the end of the seven days on which the "lord" rests and integrates the initial idea with all that unfolded during the other six days. this is aristotle's theory of action, that the "actual" is prior to the "potential", i.e., the overall encompassing action or gestalt is somehow logically more present than the individual moments of the action that unfold along the way. but this is only the case if the action stays in the here and now, the "messianic now", in which the knower, the known and the knowing all partake of a oneness. in this sense "god" is this encompassing oneness, the synthesis capable of integrating the myriad antitheses of his/her world. bel has shown herself willing and able to subordinate her ego to this here and now awareness process, and in this sense her humility is comparable to that of moses, which gave moses privileged access to god's torah, god's living word. bel thus joined the choosing/chosen people, those choosing to allow the divine soul to subjugate - for a while - the animal soul which usually drives us. from another perspective, if we regard each of the here and now moments along the way as our access to another face, countenance, point of view or "name" of god, then this final moment of an extended gestalt session is the moment of redemption at which god and names, his name, his nam(ing) are one.
during this final moment of existential action the searcher allows the existential message of the awareness work or the dreamwork to emerge and swallow up all the fragmentary kaleidoscopic array of here and now moments that contributed their energy to this "strong gestalt". this also is leibniz' theory of an encompassing "monadology" with integrates all the "monads". if each here and now gestalt is a world, a monad, a living organism, then the encompassing gestalt, monadology or superorganism is a world of worlds, the body of god. man is such a superorganism, with a mind/soul capable of integrating the fuctioning of every organ, cell, cellule, molecule and atom. maimonides and then st. thomas borrowed this organic theory of action from aristotle and made it one basis of our contemporary judeo-christian worldview. maimonides, furthermore, used this theory as the starting point for his theory of prophecy. since this theory also is the basis of the stanislavski/brecht dialectical tradition of performer training, it is in this sense that a well trained performer is serving a prophetic function for an audience. such a performer needs to know enough about this way of working to be able consciously to harness it as the motor of his creative work. this puts the horse before the cart. of course, this is the exact opposite of how most performers work, with their insatiable ego hunger for fame and fortune. for more on this topic see the essays "prophecy here and now" and "rashi and b'reishit" at my website, "franklynwepner.com".
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 lo
https://wn.com/Gestalt_Work_On_Awareness_With_Bel_Part_4_(Hq)
part 4 (last part) 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. at the end of the session i encourage bel to recall the overall path she has traversed during the entire two hour session. i ask her to open herself to discovering any big picture, pattern, "gestalt" (means "pattern" in german) that emerged during the entire process. if we see the gestalt therapy pilgrim as a sort of god of a world he/she is creating moment by moment, then this last step is like the sabbath at the end of the seven days on which the "lord" rests and integrates the initial idea with all that unfolded during the other six days. this is aristotle's theory of action, that the "actual" is prior to the "potential", i.e., the overall encompassing action or gestalt is somehow logically more present than the individual moments of the action that unfold along the way. but this is only the case if the action stays in the here and now, the "messianic now", in which the knower, the known and the knowing all partake of a oneness. in this sense "god" is this encompassing oneness, the synthesis capable of integrating the myriad antitheses of his/her world. bel has shown herself willing and able to subordinate her ego to this here and now awareness process, and in this sense her humility is comparable to that of moses, which gave moses privileged access to god's torah, god's living word. bel thus joined the choosing/chosen people, those choosing to allow the divine soul to subjugate - for a while - the animal soul which usually drives us. from another perspective, if we regard each of the here and now moments along the way as our access to another face, countenance, point of view or "name" of god, then this final moment of an extended gestalt session is the moment of redemption at which god and names, his name, his nam(ing) are one.
during this final moment of existential action the searcher allows the existential message of the awareness work or the dreamwork to emerge and swallow up all the fragmentary kaleidoscopic array of here and now moments that contributed their energy to this "strong gestalt". this also is leibniz' theory of an encompassing "monadology" with integrates all the "monads". if each here and now gestalt is a world, a monad, a living organism, then the encompassing gestalt, monadology or superorganism is a world of worlds, the body of god. man is such a superorganism, with a mind/soul capable of integrating the fuctioning of every organ, cell, cellule, molecule and atom. maimonides and then st. thomas borrowed this organic theory of action from aristotle and made it one basis of our contemporary judeo-christian worldview. maimonides, furthermore, used this theory as the starting point for his theory of prophecy. since this theory also is the basis of the stanislavski/brecht dialectical tradition of performer training, it is in this sense that a well trained performer is serving a prophetic function for an audience. such a performer needs to know enough about this way of working to be able consciously to harness it as the motor of his creative work. this puts the horse before the cart. of course, this is the exact opposite of how most performers work, with their insatiable ego hunger for fame and fortune. for more on this topic see the essays "prophecy here and now" and "rashi and b'reishit" at my website, "franklynwepner.com".
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 lo
- published: 02 Jan 2011
- views: 13013
FRANKLYN WEPNER TEACHER gestalt therapy with bel 3
- Order: Reorder
- Duration: 56:09
- Updated: 10 Apr 2014
- views: 11317
part 3 of a 2 hour gestalt therapy session on awareness with actress bel baca
BY FRANKLYN WEPNER SE...
part 3 of a 2 hour gestalt therapy session on awareness with actress bel baca
BY FRANKLYN WEPNER SEPTEMBER 1, 2006
fwep@earthlink.net
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 en
https://wn.com/Franklyn_Wepner_Teacher_Gestalt_Therapy_With_Bel_3
part 3 of a 2 hour gestalt therapy session on awareness with actress bel baca
BY FRANKLYN WEPNER SEPTEMBER 1, 2006
fwep@earthlink.net
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 en
- published: 03 Oct 2010
- views: 11317
FRANKLYN WEPNER TEACHER gestalt therapy with bel 5
- Order: Reorder
- Duration: 14:58
- Updated: 10 Apr 2014
- views: 9985
part 5 of a two hour gestalt session on awareness with actress bel baca. BY FRANKLYN WEPNER SEPTEMBE...
part 5 of a two hour gestalt session on awareness with actress bel baca. BY FRANKLYN WEPNER SEPTEMBER 1, 2006
fwep@earthlink.net
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
https://wn.com/Franklyn_Wepner_Teacher_Gestalt_Therapy_With_Bel_5
part 5 of a two hour gestalt session on awareness with actress bel baca. BY FRANKLYN WEPNER SEPTEMBER 1, 2006
fwep@earthlink.net
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
- published: 10 Oct 2010
- views: 9985
-
Odyssey [Full Audiobook] by Homer
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia. The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War. In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must ...
published: 09 Oct 2016 -
Odysseys of Homer - Chapter 21 to 25 - Audiobook
The Odysseys of Homer by Homer HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634) The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Lati...
published: 08 Jun 2016 -
Odysseys of Homer Chapter 15 Audiobook
The Odysseys of Homer by Homer HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634) The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Lati...
published: 07 Jun 2016 -
Odysseys of Homer chapter 16 to 20 audiobook
The Odysseys of Homer by Homer HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634) The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Lati...
published: 08 Jun 2016 -
Odysseys of Homer chapter 12 to 14 Audiobook
The Odysseys of Homer by Homer HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634) The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Lati...
published: 07 Jun 2016 -
Odysseys of Homer by Homer Chapter 9 - 10 - 11 - audiobook
The Odysseys of Homer by Homer HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634) The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Lati...
published: 06 Jun 2016 -
The Odysseys of Homer - Chapter 3 - 4 - 5 Audiobook
The Odysseys of Homer HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634) The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin transla...
published: 06 Jun 2016 -
Odysseys of Homer Chapter 6 - 7 - 8 Audiobook
The Odysseys of Homer HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634) The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin transla...
published: 06 Jun 2016 -
Odysseys of Homer - Chapter 1-2 - audiobook
The Odysseys of Homer HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634) The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin transla...
published: 06 Jun 2016 -
The Odyssey [FULL AUDIOBOOK] PART 2 of 2
The Odyssey [FULL AUDIOBOOK] PART 2 of 2 The Odyssey (/ˈɒdəsi/; Greek: Ὀδύσσεια, Odýsseia) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia. The poem mainly centers on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War. In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal...
published: 15 Dec 2014
Odyssey [Full Audiobook] by Homer
- Order: Reorder
- Duration: 11:50:22
- Updated: 09 Oct 2016
- views: 22
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Hom...
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War. In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter. Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets).
00:00:00 Book 1
00:23:06 Book 2
00:46:28 Book 3
01:11:49 Book 4
01:55:29 Book 5
02:23:22 Book 6
02:46:16 Book 7
03:05:25 Book 8
03:35:38 Book 9
04:14:02 Book 10
04:51:06 Book 11
05:32:20 Book 12
06:02:24 Book 13
06:27:22 Book 14
07:00:50 Book 15
07:31:10 Book 16
07:59:28 Book 17
08:31:15 Book 18
08:53:50 Book 19
09:24:28 Book 20
09:46:48 Book 21
10:13:53 Book 22
10:44:18 Book 23
11:11:33 Book 24
#audiobook #audiobooks #englishaudiobooks
https://wn.com/Odyssey_Full_Audiobook_By_Homer
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War. In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter. Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets).
00:00:00 Book 1
00:23:06 Book 2
00:46:28 Book 3
01:11:49 Book 4
01:55:29 Book 5
02:23:22 Book 6
02:46:16 Book 7
03:05:25 Book 8
03:35:38 Book 9
04:14:02 Book 10
04:51:06 Book 11
05:32:20 Book 12
06:02:24 Book 13
06:27:22 Book 14
07:00:50 Book 15
07:31:10 Book 16
07:59:28 Book 17
08:31:15 Book 18
08:53:50 Book 19
09:24:28 Book 20
09:46:48 Book 21
10:13:53 Book 22
10:44:18 Book 23
11:11:33 Book 24
#audiobook #audiobooks #englishaudiobooks
- published: 09 Oct 2016
- views: 22
Odysseys of Homer - Chapter 21 to 25 - Audiobook
- Order: Reorder
- Duration: 2:40:04
- Updated: 08 Jun 2016
- views: 4
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Uly...
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin translations. Chapman's translation has been admired by many, including John Keats and others. Many of these stories are familiar to us, Ulysses and the Sirens, Circe turning his crew to swine, their escape from the Cyclops on the bellies of his sheep, but Chapman's version includes violent episodes and suggestive innuendo that I don't recall from my childhood days. (Introduction by Fritz)
Genre(s): Classics (Antiquity), Epics
Language: English
Librivox
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[3] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). wikipedia
https://wn.com/Odysseys_Of_Homer_Chapter_21_To_25_Audiobook
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin translations. Chapman's translation has been admired by many, including John Keats and others. Many of these stories are familiar to us, Ulysses and the Sirens, Circe turning his crew to swine, their escape from the Cyclops on the bellies of his sheep, but Chapman's version includes violent episodes and suggestive innuendo that I don't recall from my childhood days. (Introduction by Fritz)
Genre(s): Classics (Antiquity), Epics
Language: English
Librivox
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[3] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). wikipedia
- published: 08 Jun 2016
- views: 4
Odysseys of Homer Chapter 15 Audiobook
- Order: Reorder
- Duration: 41:00
- Updated: 07 Jun 2016
- views: 8
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Uly...
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin translations. Chapman's translation has been admired by many, including John Keats and others. Many of these stories are familiar to us, Ulysses and the Sirens, Circe turning his crew to swine, their escape from the Cyclops on the bellies of his sheep, but Chapman's version includes violent episodes and suggestive innuendo that I don't recall from my childhood days. (Introduction by Fritz)
Genre(s): Classics (Antiquity), Epics
Language: English
Librivox
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[3] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). wikipedia
https://wn.com/Odysseys_Of_Homer_Chapter_15_Audiobook
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin translations. Chapman's translation has been admired by many, including John Keats and others. Many of these stories are familiar to us, Ulysses and the Sirens, Circe turning his crew to swine, their escape from the Cyclops on the bellies of his sheep, but Chapman's version includes violent episodes and suggestive innuendo that I don't recall from my childhood days. (Introduction by Fritz)
Genre(s): Classics (Antiquity), Epics
Language: English
Librivox
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[3] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). wikipedia
- published: 07 Jun 2016
- views: 8
Odysseys of Homer chapter 16 to 20 audiobook
- Order: Reorder
- Duration: 3:06:23
- Updated: 08 Jun 2016
- views: 15
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Uly...
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin translations. Chapman's translation has been admired by many, including John Keats and others. Many of these stories are familiar to us, Ulysses and the Sirens, Circe turning his crew to swine, their escape from the Cyclops on the bellies of his sheep, but Chapman's version includes violent episodes and suggestive innuendo that I don't recall from my childhood days. (Introduction by Fritz)
Genre(s): Classics (Antiquity), Epics
Language: English
Librivox
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[3] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). wikipedia
https://wn.com/Odysseys_Of_Homer_Chapter_16_To_20_Audiobook
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin translations. Chapman's translation has been admired by many, including John Keats and others. Many of these stories are familiar to us, Ulysses and the Sirens, Circe turning his crew to swine, their escape from the Cyclops on the bellies of his sheep, but Chapman's version includes violent episodes and suggestive innuendo that I don't recall from my childhood days. (Introduction by Fritz)
Genre(s): Classics (Antiquity), Epics
Language: English
Librivox
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[3] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). wikipedia
- published: 08 Jun 2016
- views: 15
Odysseys of Homer chapter 12 to 14 Audiobook
- Order: Reorder
- Duration: 2:33:31
- Updated: 07 Jun 2016
- views: 14
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Uly...
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin translations. Chapman's translation has been admired by many, including John Keats and others. Many of these stories are familiar to us, Ulysses and the Sirens, Circe turning his crew to swine, their escape from the Cyclops on the bellies of his sheep, but Chapman's version includes violent episodes and suggestive innuendo that I don't recall from my childhood days. (Introduction by Fritz)
Genre(s): Classics (Antiquity), Epics
Language: English
Librivox
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[3] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). wikipedia
https://wn.com/Odysseys_Of_Homer_Chapter_12_To_14_Audiobook
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin translations. Chapman's translation has been admired by many, including John Keats and others. Many of these stories are familiar to us, Ulysses and the Sirens, Circe turning his crew to swine, their escape from the Cyclops on the bellies of his sheep, but Chapman's version includes violent episodes and suggestive innuendo that I don't recall from my childhood days. (Introduction by Fritz)
Genre(s): Classics (Antiquity), Epics
Language: English
Librivox
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[3] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). wikipedia
- published: 07 Jun 2016
- views: 14
Odysseys of Homer by Homer Chapter 9 - 10 - 11 - audiobook
- Order: Reorder
- Duration: 2:01:41
- Updated: 06 Jun 2016
- views: 31
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Uly...
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin translations. Chapman's translation has been admired by many, including John Keats and others. Many of these stories are familiar to us, Ulysses and the Sirens, Circe turning his crew to swine, their escape from the Cyclops on the bellies of his sheep, but Chapman's version includes violent episodes and suggestive innuendo that I don't recall from my childhood days. (Introduction by Fritz)
Genre(s): Classics (Antiquity), Epics
Language: English
Librivox
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[3] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). wikipedia
https://wn.com/Odysseys_Of_Homer_By_Homer_Chapter_9_10_11_Audiobook
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin translations. Chapman's translation has been admired by many, including John Keats and others. Many of these stories are familiar to us, Ulysses and the Sirens, Circe turning his crew to swine, their escape from the Cyclops on the bellies of his sheep, but Chapman's version includes violent episodes and suggestive innuendo that I don't recall from my childhood days. (Introduction by Fritz)
Genre(s): Classics (Antiquity), Epics
Language: English
Librivox
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[3] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). wikipedia
- published: 06 Jun 2016
- views: 31
The Odysseys of Homer - Chapter 3 - 4 - 5 Audiobook
- Order: Reorder
- Duration: 1:39:45
- Updated: 06 Jun 2016
- views: 46
The Odysseys of Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' jou...
The Odysseys of Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin translations. Chapman's translation has been admired by many, including John Keats and others. Many of these stories are familiar to us, Ulysses and the Sirens, Circe turning his crew to swine, their escape from the Cyclops on the bellies of his sheep, but Chapman's version includes violent episodes and suggestive innuendo that I don't recall from my childhood days. (Introduction by Fritz)
Genre(s): Classics (Antiquity), Epics
Language: English
Librivox
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.[2]
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[3] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read.[2] The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). wikipedia
https://wn.com/The_Odysseys_Of_Homer_Chapter_3_4_5_Audiobook
The Odysseys of Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin translations. Chapman's translation has been admired by many, including John Keats and others. Many of these stories are familiar to us, Ulysses and the Sirens, Circe turning his crew to swine, their escape from the Cyclops on the bellies of his sheep, but Chapman's version includes violent episodes and suggestive innuendo that I don't recall from my childhood days. (Introduction by Fritz)
Genre(s): Classics (Antiquity), Epics
Language: English
Librivox
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.[2]
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[3] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read.[2] The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). wikipedia
- published: 06 Jun 2016
- views: 46
Odysseys of Homer Chapter 6 - 7 - 8 Audiobook
- Order: Reorder
- Duration: 1:31:31
- Updated: 06 Jun 2016
- views: 45
The Odysseys of Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' jou...
The Odysseys of Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin translations. Chapman's translation has been admired by many, including John Keats and others. Many of these stories are familiar to us, Ulysses and the Sirens, Circe turning his crew to swine, their escape from the Cyclops on the bellies of his sheep, but Chapman's version includes violent episodes and suggestive innuendo that I don't recall from my childhood days. (Introduction by Fritz)
Genre(s): Classics (Antiquity), Epics
Language: English
Librivox
The Odyssey (/ˈɒdəsi/; Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[3] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). wikipedia
https://wn.com/Odysseys_Of_Homer_Chapter_6_7_8_Audiobook
The Odysseys of Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin translations. Chapman's translation has been admired by many, including John Keats and others. Many of these stories are familiar to us, Ulysses and the Sirens, Circe turning his crew to swine, their escape from the Cyclops on the bellies of his sheep, but Chapman's version includes violent episodes and suggestive innuendo that I don't recall from my childhood days. (Introduction by Fritz)
Genre(s): Classics (Antiquity), Epics
Language: English
Librivox
The Odyssey (/ˈɒdəsi/; Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[3] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). wikipedia
- published: 06 Jun 2016
- views: 45
Odysseys of Homer - Chapter 1-2 - audiobook
- Order: Reorder
- Duration: 1:11:19
- Updated: 06 Jun 2016
- views: 152
The Odysseys of Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' jou...
The Odysseys of Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin translations. Chapman's translation has been admired by many, including John Keats and others. Many of these stories are familiar to us, Ulysses and the Sirens, Circe turning his crew to swine, their escape from the Cyclops on the bellies of his sheep, but Chapman's version includes violent episodes and suggestive innuendo that I don't recall from my childhood days. (Introduction by Fritz)
Genre(s): Classics (Antiquity), Epics
Language: English
Librivox
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.[2]
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[3] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read.[2] The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). wikipedia
https://wn.com/Odysseys_Of_Homer_Chapter_1_2_Audiobook
The Odysseys of Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 1559 - 1634)
The Odysseys are a collection of stories about Ulysses' journey home from the war at Troy purportedly written in the 8th century BCE by Homer, a blind poet thought to have lived in the Greek colonies in Asia Minor, possibly at Smyrna. The events described are thought to have occurred centuries before being recorded by Homer, handed down orally since the twelfth century BCE, the golden era of the Greek Bronze Age when the world was populated by heroic mortals and often visited by the Gods. This verse translation in couplets by George Chapman was originally published in 1616, the first translation from the ancient Greek directly to English, although likely influenced by previous Latin translations. Chapman's translation has been admired by many, including John Keats and others. Many of these stories are familiar to us, Ulysses and the Sirens, Circe turning his crew to swine, their escape from the Cyclops on the bellies of his sheep, but Chapman's version includes violent episodes and suggestive innuendo that I don't recall from my childhood days. (Introduction by Fritz)
Genre(s): Classics (Antiquity), Epics
Language: English
Librivox
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical Attic) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.[2]
The poem mainly focuses on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[3] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read.[2] The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and slaves, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). wikipedia
- published: 06 Jun 2016
- views: 152
The Odyssey [FULL AUDIOBOOK] PART 2 of 2
- Order: Reorder
- Duration: 6:12:39
- Updated: 15 Dec 2014
- views: 371
The Odyssey [FULL AUDIOBOOK] PART 2 of 2
The Odyssey (/ˈɒdəsi/; Greek: Ὀδύσσεια, Odýsseia) is one of two major ancient Greek epic poems attributed to Homer. ...
The Odyssey [FULL AUDIOBOOK] PART 2 of 2
The Odyssey (/ˈɒdəsi/; Greek: Ὀδύσσεια, Odýsseia) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly centers on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War. In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read.[2] The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and serfs, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta, but in one source was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets).
https://wn.com/The_Odyssey_Full_Audiobook_Part_2_Of_2
The Odyssey [FULL AUDIOBOOK] PART 2 of 2
The Odyssey (/ˈɒdəsi/; Greek: Ὀδύσσεια, Odýsseia) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. Scholars believe it was composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.
The poem mainly centers on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War. In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.
It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read.[2] The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter.[4][5] Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and serfs, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage.
The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in antiquity to Cinaethon of Sparta, but in one source was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets).
- published: 15 Dec 2014
- views: 371
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6:12:39
The Odyssey [FULL AUDIOBOOK] PART 2 of 2
The Odyssey [FULL AUDIOBOOK] PART 2 of 2
The Odyssey (/ˈɒdəsi/; Greek: Ὀδύσσεια, Odýsse...
published: 15 Dec 2014
The Odyssey [FULL AUDIOBOOK] PART 2 of 2
The Odyssey [FULL AUDIOBOOK] PART 2 of 2
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5:18
A Cyclic Life - Clannad AMV (Paperman)
Second AMV for SakuraCon 2014. This is the first time I've made a Romance/Emotional/NON-AC...
published: 19 Feb 2014
A Cyclic Life - Clannad AMV (Paperman)
A Cyclic Life - Clannad AMV (Paperman)
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1:51
Time is An Illusion | The Flow of Time is an Illusion
Time is An Illusion | The Flow of Time is an Illusion
The quantum universe is static. No...
published: 28 May 2015
Time is An Illusion | The Flow of Time is an Illusion
Time is An Illusion | The Flow of Time is an Illusion
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11:59
TEDxPalermo - Tishani Doshi - The Luxury of Slowness
The TEDxPalermo's Talk by the Indian poet, writer and dancer Tishani Doshi was in the midd...
published: 13 May 2011
TEDxPalermo - Tishani Doshi - The Luxury of Slowness
TEDxPalermo - Tishani Doshi - The Luxury of Slowness
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13:30
Error Detection and Correction using Hamming code - Simplified with Animation
Algorithm Series
----------------------------
This tutorial explains Error detection and c...
published: 14 Feb 2017
Error Detection and Correction using Hamming code - Simplified with Animation
Error Detection and Correction using Hamming code - Simplified with Animation
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7:26
Mihai Popoviciu - Cannon Poets - "Home LP" (BOND12038)
Digital Download
➤ http://classic.beatport.com/release/home/1768021
Album 2x12"
➤ http:/...
published: 08 Jul 2016
Mihai Popoviciu - Cannon Poets - "Home LP" (BOND12038)
Mihai Popoviciu - Cannon Poets - "Home LP" (BOND12038)
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7:18
Mihai Popoviciu - Focus [Bondage Music]
Premiere: Mihai Popoviciu - Focus (Original Mix)
BUY: http://www.deejay.de/BOND12038_-_Mi...
published: 04 May 2016
Mihai Popoviciu - Focus [Bondage Music]
Mihai Popoviciu - Focus [Bondage Music]
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2:33:31
Odysseys of Homer chapter 12 to 14 Audiobook
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPM...
published: 07 Jun 2016
Odysseys of Homer chapter 12 to 14 Audiobook
Odysseys of Homer chapter 12 to 14 Audiobook
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41:00
Odysseys of Homer Chapter 15 Audiobook
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPM...
published: 07 Jun 2016
Odysseys of Homer Chapter 15 Audiobook
Odysseys of Homer Chapter 15 Audiobook
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5:15
Sub Luna- Nightfall
Musician: Sub Luna
Album: Awake!
Official FB Page:
http://www.facebook.com/subluna
...
published: 02 Feb 2011
Sub Luna- Nightfall
Sub Luna- Nightfall
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3:57
Silsila - (documentation at Venice Biennale)
Silsila — Arabic for ‘chain’ or ‘link’— is a multi-media installation depicting Alshaibi’s...
published: 13 Jun 2013
Silsila - (documentation at Venice Biennale)
Silsila - (documentation at Venice Biennale)
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1:04:06
Ophelia's Gaze - a chamber opera
Ophelia's Gaze (2008) - a chamber opera
music, live audio and video, staging - Steve EVERE...
published: 27 Dec 2008
Ophelia's Gaze - a chamber opera
Ophelia's Gaze - a chamber opera
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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
GESTALT WORK ON AWARENESS (HQ) - PART גשטאלט - מודעות - חלק 1
GESTALT WORK ON AWARENESS (HQ) - PART גשטאלט - מודעות - חלק 1
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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
GESTALT WORK ON AWARENESS WITH BEL part 3 (HQ)
GESTALT WORK ON AWARENESS WITH BEL part 3 (HQ)
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6:12:39
The Odyssey [FULL AUDIOBOOK] PART 2 of 2
The Odyssey [FULL AUDIOBOOK] PART 2 of 2
The Odyssey (/ˈɒdəsi/; Greek: Ὀδύσσεια, Odýsse...
published: 15 Dec 2014
The Odyssey [FULL AUDIOBOOK] PART 2 of 2
The Odyssey [FULL AUDIOBOOK] PART 2 of 2
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5:18
A Cyclic Life - Clannad AMV (Paperman)
Second AMV for SakuraCon 2014. This is the first time I've made a Romance/Emotional/NON-AC...
published: 19 Feb 2014
A Cyclic Life - Clannad AMV (Paperman)
A Cyclic Life - Clannad AMV (Paperman)
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1:51
Time is An Illusion | The Flow of Time is an Illusion
Time is An Illusion | The Flow of Time is an Illusion
The quantum universe is static. No...
published: 28 May 2015
Time is An Illusion | The Flow of Time is an Illusion
Time is An Illusion | The Flow of Time is an Illusion
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11:59
TEDxPalermo - Tishani Doshi - The Luxury of Slowness
The TEDxPalermo's Talk by the Indian poet, writer and dancer Tishani Doshi was in the midd...
published: 13 May 2011
TEDxPalermo - Tishani Doshi - The Luxury of Slowness
TEDxPalermo - Tishani Doshi - The Luxury of Slowness
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13:30
Error Detection and Correction using Hamming code - Simplified with Animation
Algorithm Series
----------------------------
This tutorial explains Error detection and c...
published: 14 Feb 2017
Error Detection and Correction using Hamming code - Simplified with Animation
Error Detection and Correction using Hamming code - Simplified with Animation
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7:26
Mihai Popoviciu - Cannon Poets - "Home LP" (BOND12038)
Digital Download
➤ http://classic.beatport.com/release/home/1768021
Album 2x12"
➤ http:/...
published: 08 Jul 2016
Mihai Popoviciu - Cannon Poets - "Home LP" (BOND12038)
Mihai Popoviciu - Cannon Poets - "Home LP" (BOND12038)
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- published: 08 Jul 2016
- views: 1876
7:18
Mihai Popoviciu - Focus [Bondage Music]
Premiere: Mihai Popoviciu - Focus (Original Mix)
BUY: http://www.deejay.de/BOND12038_-_Mi...
published: 04 May 2016
Mihai Popoviciu - Focus [Bondage Music]
Mihai Popoviciu - Focus [Bondage Music]
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2:33:31
Odysseys of Homer chapter 12 to 14 Audiobook
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPM...
published: 07 Jun 2016
Odysseys of Homer chapter 12 to 14 Audiobook
Odysseys of Homer chapter 12 to 14 Audiobook
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41:00
Odysseys of Homer Chapter 15 Audiobook
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPM...
published: 07 Jun 2016
Odysseys of Homer Chapter 15 Audiobook
Odysseys of Homer Chapter 15 Audiobook
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5:15
Sub Luna- Nightfall
Musician: Sub Luna
Album: Awake!
Official FB Page:
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...
published: 02 Feb 2011
Sub Luna- Nightfall
Sub Luna- Nightfall
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- published: 02 Feb 2011
- views: 1756
3:57
Silsila - (documentation at Venice Biennale)
Silsila — Arabic for ‘chain’ or ‘link’— is a multi-media installation depicting Alshaibi’s...
published: 13 Jun 2013
Silsila - (documentation at Venice Biennale)
Silsila - (documentation at Venice Biennale)
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- published: 13 Jun 2013
- views: 543
1:04:06
Ophelia's Gaze - a chamber opera
Ophelia's Gaze (2008) - a chamber opera
music, live audio and video, staging - Steve EVERE...
published: 27 Dec 2008
Ophelia's Gaze - a chamber opera
Ophelia's Gaze - a chamber opera
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- published: 27 Dec 2008
- views: 2353
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
GESTALT WORK ON AWARENESS (HQ) - PART גשטאלט - מודעות - חלק 1
GESTALT WORK ON AWARENESS (HQ) - PART גשטאלט - מודעות - חלק 1
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- published: 13 Aug 2011
- views: 19870
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
GESTALT WORK ON AWARENESS WITH BEL part 3 (HQ)
GESTALT WORK ON AWARENESS WITH BEL part 3 (HQ)
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- published: 01 Jan 2011
- views: 18050
fullscreen slideshow
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11:50:22
Odyssey [Full Audiobook] by Homer
The Odyssey (/ˈɒdəsi/;[1] Greek: Ὀδύσσεια Odýsseia, pronounced [o.dýs.sej.ja] in Classical...
published: 09 Oct 2016
Odyssey [Full Audiobook] by Homer
Odyssey [Full Audiobook] by Homer
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- published: 09 Oct 2016
- views: 22
2:40:04
Odysseys of Homer - Chapter 21 to 25 - Audiobook
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPM...
published: 08 Jun 2016
Odysseys of Homer - Chapter 21 to 25 - Audiobook
Odysseys of Homer - Chapter 21 to 25 - Audiobook
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- published: 08 Jun 2016
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41:00
Odysseys of Homer Chapter 15 Audiobook
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPM...
published: 07 Jun 2016
Odysseys of Homer Chapter 15 Audiobook
Odysseys of Homer Chapter 15 Audiobook
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- published: 07 Jun 2016
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3:06:23
Odysseys of Homer chapter 16 to 20 audiobook
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPM...
published: 08 Jun 2016
Odysseys of Homer chapter 16 to 20 audiobook
Odysseys of Homer chapter 16 to 20 audiobook
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- published: 08 Jun 2016
- views: 15
2:33:31
Odysseys of Homer chapter 12 to 14 Audiobook
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPM...
published: 07 Jun 2016
Odysseys of Homer chapter 12 to 14 Audiobook
Odysseys of Homer chapter 12 to 14 Audiobook
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- published: 07 Jun 2016
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2:01:41
Odysseys of Homer by Homer Chapter 9 - 10 - 11 - audiobook
The Odysseys of Homer by Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPM...
published: 06 Jun 2016
Odysseys of Homer by Homer Chapter 9 - 10 - 11 - audiobook
Odysseys of Homer by Homer Chapter 9 - 10 - 11 - audiobook
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- published: 06 Jun 2016
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1:39:45
The Odysseys of Homer - Chapter 3 - 4 - 5 Audiobook
The Odysseys of Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 15...
published: 06 Jun 2016
The Odysseys of Homer - Chapter 3 - 4 - 5 Audiobook
The Odysseys of Homer - Chapter 3 - 4 - 5 Audiobook
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- published: 06 Jun 2016
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1:31:31
Odysseys of Homer Chapter 6 - 7 - 8 Audiobook
The Odysseys of Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 15...
published: 06 Jun 2016
Odysseys of Homer Chapter 6 - 7 - 8 Audiobook
Odysseys of Homer Chapter 6 - 7 - 8 Audiobook
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- published: 06 Jun 2016
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1:11:19
Odysseys of Homer - Chapter 1-2 - audiobook
The Odysseys of Homer
HOMER (c. 8th cen - c. 8th cen), translated by George CHAPMAN (c. 15...
published: 06 Jun 2016
Odysseys of Homer - Chapter 1-2 - audiobook
Odysseys of Homer - Chapter 1-2 - audiobook
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- published: 06 Jun 2016
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6:12:39
The Odyssey [FULL AUDIOBOOK] PART 2 of 2
The Odyssey [FULL AUDIOBOOK] PART 2 of 2
The Odyssey (/ˈɒdəsi/; Greek: Ὀδύσσεια, Odýsse...
published: 15 Dec 2014
The Odyssey [FULL AUDIOBOOK] PART 2 of 2
The Odyssey [FULL AUDIOBOOK] PART 2 of 2
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- published: 15 Dec 2014
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![Odyssey [Full Audiobook] by Homer](http://web.archive.org./web/20170524170852/https://i.ytimg.com/vi/t1yexxQsi7g/0.jpg)
Odyssey [Full Audiobook] by Homer...
Odysseys of Homer - Chapter 21 to 25 - Audiobook...
Odysseys of Homer Chapter 15 Audiobook...
Odysseys of Homer chapter 16 to 20 audiobook...
Odysseys of Homer chapter 12 to 14 Audiobook...
Odysseys of Homer by Homer Chapter 9 - 10 - 11 - ...
The Odysseys of Homer - Chapter 3 - 4 - 5 Audioboo...
Odysseys of Homer Chapter 6 - 7 - 8 Audiobook...
Odysseys of Homer - Chapter 1-2 - audiobook...
![The Odyssey [FULL AUDIOBOOK] PART 2 of 2](http://web.archive.org./web/20170524170852/https://i.ytimg.com/vi/Y2ZhoaGXXhQ/0.jpg)
The Odyssey [FULL AUDIOBOOK] PART 2 of 2...
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NYT: Trump Told Duterte Two U.S. Nuclear Subs Patrolling Korean Waters
Edit WorldNews.com 24 May 2017
In an April 29 phone call between Donald Trump and Philippine President Rodrigo Duterte, The New York Times reports, the U.S. president allegedly said Washington has sent two nuclear submarines to waters off the Korean peninsula, raising concerns about Trump’s continued handling of sensitive information, Reuters reported Wednesday ... aggression, Reuters said....
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S. Korea fires warning shots at North balloons
Edit The Japan News 24 May 2017
AFPSEOUL (AFP-Jiji) — Flying objects that prompted South Korean forces to fire warning shots this week appeared to be balloons carrying propaganda leaflets from the North, Seoul’s military said Wednesday. On Tuesday the defense ministry said troops had opened fire when an unidentified flying object entered the country’s airspace across the tense border with North Korea, with a military official saying it appeared to be a drone ... Trump ... ....
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Massive Landslide In California Decimates Iconic Coastal Highway 1
Edit WorldNews.com 24 May 2017
In the latest natural disaster to strike the California Coast, a landslide has buried a portion of Highway 1 with 40-feet of rock and dirt along with dramatically changing the coastline underneath the highway according to a statement from the California Department of Transportation on Tuesday ... "We haven't been able to go up there and assess. It's still moving," Cruz said ... -WN.com, Maureen Foody....
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Counter-Strike: GO 'Operation Hydra' events have just been detailed
Edit PC Gamer 24 May 2017
It runs until September. Shares. Valve has just announced its Counter-Strike. Global Offensive 'Operation Hydra' event, which will take place on a weekly basis until September. These events will feature "twists on the classic game rules", and will play out on new maps across both casual and competitive ... See comments. ....
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Amber Rudd 'Irritated' At US Officials For Leaking Details Of Manchester Bombing
Edit Huffington Post 24 May 2017
Amber Rudd has said the British government will look at how much it shares with the United States about ongoing terror attacks, after details about the Manchester bombing appeared to be leaked to American journalists. The Home Secretary said on Wednesday morning it was “irritating” that information, including the name of the attacker, Salman Abedi, was obtained by US media outlets before it was released by British police ... ....
Economics 101: Why state budgets are harder in the GCC
Edit The National 24 May 2017
This is typically achieved by relaxing the constraint that the government balance its books; instead, economic policies are usually deployed counter-cyclically to try to dampen the business cycle, by loosening the government's purse strings during recessions, and tightening them during booms ... The business cycle's mean-reversion underlies the proposed effectiveness of counter-cyclical fiscal policy....
China hits back at "inappropriate methods" of Moody's credit rating
Edit Canberra Times 24 May 2017
The Chinese government has criticised international ratings agency Moody's, saying its first ratings downgrade in 30 years was based on "inappropriate methods" of pro cyclical rating ... ....
China dismisses Moody's downgrade decision
Edit China Daily 24 May 2017
The downgrade is based on the "pro-cyclical" rating approach which is "not appropriate," the Ministry of Finance (MOF) said in a written statement ... ....
Reflation trade isn't dead, yet
Edit Sydney Morning Herald 24 May 2017
Investors had bet that Donald Trump's tax cut and infrastructure spending plans would light a fire under US economic growth and inflation, triggering a global rally in cyclical stocks and banks, while bonds and yield-sensitive stocks were dumped in anticipation of a faster rise in official interest rates ... Richard Drew....
Buy State Bank of India; target of Rs 348: HDFC Securities
Edit Moneycontrol 24 May 2017
HDFC Securities' research report on State Bank of India ... Outlook. Disinvestments from non-core investments, unlocking value in subsidiaries and additional provisions (std assets and counter cyclical) provide a cushion to earnings. Massive clean-up in its associate banks provides additional comfort ... Disclaimer ... ....
Voltas rallies over 8% post Q4 results, Credit Suisse upgrade
Edit Moneycontrol 24 May 2017
The company had posted a net profit of Rs 164.23 crore in the January-March quarter a year ago, Voltas said in a BSE filing. Moneycontrol News ... This resulted in a strong earnings surprise ... Inflows at Rs9.5 bn remained strong, and cyclical recovery can drive upgrades.Credit Suisse revised earnings by 14%/7% for FY18E/19E on stronger sales and slightly better margins ... ....
Robert Shiller: Stay in the market because it ‘could go up 50% from here’
Edit Yahoo Daily News 24 May 2017
More. Nobel Prize-winning economist Robert Shiller believes investors should continue to own stocks because the bull market may continue for years ... Santoli asked Shiller about his market outlook ... Shiller developed the "cyclically adjusted price-to-earnings ratio" (CAPE) market valuation measure, which is calculated using price divided by the index's average historical 10-year earnings, adjusted for inflation ... Source. Multpl.com ... ... ....
China dismisses Moody's downgrade as "inappropriate"
Edit Xinhua 24 May 2017
BEIJING, May 24 (Xinhua) -- China's Finance Ministry Wednesday dismissed a decision by international rating agency Moody's to downgrade China's credit ratings. The downgrade was based on the "pro-cyclical" rating approach which is "inappropriate," the Ministry of Finance (MOF) said ... China's economy started strongly in 2017 ... The MOF pointed to the strong performance as an effect of ongoing supply-side structural reform ... ....
OPEC, non-OPEC hold informal talks to nail new oil cuts
Edit DNA India 24 May 2017
OPEC and non-OPEC ministers meet for informal consultations in Vienna on Wednesday in a last-ditch bid to agree the duration of oil output cuts as they seek to clear a global stocks overhang that has pulled down the price of crude ... Saudi Arabia, which holds the current OPEC presidency, will also attend ... So it's a bit cyclical," said Sushant Gupta, research director for consultancy Wood Mackenzie ... ....
Condolences for Manchester victims' families
Edit The National 24 May 2017
May I pass on my deepest condolences to all those affected by the Manchester bomb blast. Being from the Manchester area myself, it is shocking and deeply saddening to know the city is reeling once more from a barbaric attack on innocent people ... Jane Bett, UK ... Saeed Ali, Dubai ... There is no problem with opening new schools, but we must try to help existing schools to survive so that opening and closing do not happen in a cyclic order....
Kuwait says OPEC, non-OPEC could deepen oil cuts
Edit Sify 24 May 2017
By Ahmad Ghaddar, Alex Lawler and Vladimir Soldatkin. VIENNA (Reuters) - OPEC and non-member oil producers could deepen output cuts or extend them for a year when they meet in Vienna this week as they seek to clear a global stocks overhang and prop up the price of crude, Kuwait said on Wednesday ... DEEPER CUTS ... [O/R] ... So it's a bit cyclical," said Sushant Gupta, research director for consultancy Wood Mackenzie....
This is the best way to make a million
Edit The Motley Fool 24 May 2017
Building a portfolio worth seven-figures is the goal of many investors. However, achieving it is not often a straightforward task. There are a large number of challenges and pitfalls which can hurt portfolio returns and lead to a lower overall valuation ... Here is how an investor could go about building a seven-figure portfolio from scratch. Expected returns ... For example, it can be prudent to own cyclical stocks as well as defensive shares....
LyondellBasell Announces Increase to Quarterly Dividend and Shareholder Approval of New Share Repurchase Program
Edit Market Watch 24 May 2017
Factors that could cause actual results to differ from forward-looking statements include, but are not limited to, availability, cost and price volatility of raw materials and utilities; supply/demand balances; industry production capacities and operating rates; uncertainties associated with worldwide economies; legal, tax and environmental ......
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