- published: 26 Sep 2009
- views: 19891
- author: unesco
10:00
![](http://web.archive.org./web/20130509083248im_/http://i.ytimg.com/vi/kMDklwoLf34/default.jpg)
Manas
UNESCO: Representative List of the Intangible Cultural Heritage of Humanity - 2009 URL: ht...
published: 26 Sep 2009
author: unesco
Manas
UNESCO: Representative List of the Intangible Cultural Heritage of Humanity - 2009 URL: http://www.unesco.org/culture/ich/RL/00209 Description: The Kirgiz et...
- published: 26 Sep 2009
- views: 19891
- author: unesco
3:57
![](http://web.archive.org./web/20130509083248im_/http://i.ytimg.com/vi/jiYQi6VQ6bc/default.jpg)
The Art of Akyns, Kyrgyz Epic Tellers
UNESCO: Representative List of the Intangible Cultural Heritage of Humanity - 2008 URL: ht...
published: 28 Sep 2009
author: unesco
The Art of Akyns, Kyrgyz Epic Tellers
UNESCO: Representative List of the Intangible Cultural Heritage of Humanity - 2008 URL: http://www.unesco.org/culture/ich/RL/00049 Description: The predomina...
- published: 28 Sep 2009
- views: 6909
- author: unesco
17:46
![](http://web.archive.org./web/20130509083248im_/http://i.ytimg.com/vi/cAKt48ogNt0/default.jpg)
Great Manaschi Sayakbai Karalaev
Recitation of the Epic of Manas by Great Manaschi Sayakbai Karalaev. The Epic of Manas Man...
published: 24 Feb 2012
author: kdjakypa
Great Manaschi Sayakbai Karalaev
Recitation of the Epic of Manas by Great Manaschi Sayakbai Karalaev. The Epic of Manas Manas is the classic centerpiece of Kyrgyz literature, and parts of it...
- published: 24 Feb 2012
- views: 4754
- author: kdjakypa
1:23
![](http://web.archive.org./web/20130509083248im_/http://i.ytimg.com/vi/NqMtl_iFMK4/default.jpg)
Manas epic recited by Talantaaly Bakchiev
Improvised narration of an episode of Semetei, part of the Manas epic from Kyrgyzstan....
published: 17 Sep 2008
author: jeanbqr
Manas epic recited by Talantaaly Bakchiev
Improvised narration of an episode of Semetei, part of the Manas epic from Kyrgyzstan.
- published: 17 Sep 2008
- views: 3248
- author: jeanbqr
6:28
![](http://web.archive.org./web/20130509083248im_/http://i.ytimg.com/vi/2G4e089zjOQ/default.jpg)
yeni ufuklar kirgiz manas destani, tuva girtlak sarkicilari
This is a part of TRT-INT's Yeni Ufuklar TV program,. It is about kyrgyz manas epic, and t...
published: 19 Dec 2006
author: finaleditor
yeni ufuklar kirgiz manas destani, tuva girtlak sarkicilari
This is a part of TRT-INT's Yeni Ufuklar TV program,. It is about kyrgyz manas epic, and tuva throat singers. Event realized as Middle Asia Nevroz Festival i...
- published: 19 Dec 2006
- views: 27721
- author: finaleditor
3:01
![](http://web.archive.org./web/20130509083248im_/http://i.ytimg.com/vi/XwoXNwNyNPg/default.jpg)
Эпос Манас/ Manas epic
...
published: 01 May 2012
author: Sanzharbek Kylych uulu
Эпос Манас/ Manas epic
- published: 01 May 2012
- views: 340
- author: Sanzharbek Kylych uulu
7:28
![](http://web.archive.org./web/20130509083248im_/http://i.ytimg.com/vi/GodpDcPzDvE/default.jpg)
MY EPIC VIDEO FOR MANAS!!!! + ANNOUNCEMENT
your welcome manas, Almost Easy property of WMG and A7X,enjoy....
published: 05 Jun 2011
author: HOPExxDRUMMER
MY EPIC VIDEO FOR MANAS!!!! + ANNOUNCEMENT
your welcome manas, Almost Easy property of WMG and A7X,enjoy.
- published: 05 Jun 2011
- views: 145
- author: HOPExxDRUMMER
2:18
![](http://web.archive.org./web/20130509083248im_/http://i.ytimg.com/vi/Xq42teidK-U/default.jpg)
TÜMATA & Şifahane Ensemble "Manas Destanı"
Kırgız Türkleri'ne ait 1000 senelik bir destan olan Manas Destanı'ndan kısa bir örnek. A s...
published: 10 Jul 2012
author: Süyümbike Güvenç
TÜMATA & Şifahane Ensemble "Manas Destanı"
Kırgız Türkleri'ne ait 1000 senelik bir destan olan Manas Destanı'ndan kısa bir örnek. A short example of 1000 year-old legend from Kyrgyzstan: Manas Epic "W...
- published: 10 Jul 2012
- views: 328
- author: Süyümbike Güvenç
3:19
![](http://web.archive.org./web/20130509083248im_/http://i.ytimg.com/vi/sbKB8iRu9Sw/default.jpg)
TÜMATA "Manas Destanı"
Kırgız Türkleri'ne ait 1000 senelik bir destan olan Manas Destanı'ndan kısa bir örnek. A s...
published: 22 Jul 2012
author: Süyümbike Güvenç
TÜMATA "Manas Destanı"
Kırgız Türkleri'ne ait 1000 senelik bir destan olan Manas Destanı'ndan kısa bir örnek. A short example of 1000 year-old legend from Kyrgyzstan: Manas Epic Be...
- published: 22 Jul 2012
- views: 412
- author: Süyümbike Güvenç
6:27
![](http://web.archive.org./web/20130509083248im_/http://i.ytimg.com/vi/VqtJa68bXlY/default.jpg)
Manas Destanı
...
published: 13 Oct 2009
author: Ergin AHMET
Manas Destanı
- published: 13 Oct 2009
- views: 8731
- author: Ergin AHMET
63:07
![](http://web.archive.org./web/20130509083248im_/http://i.ytimg.com/vi/SlMDqaCgs7w/default.jpg)
"Sri Ramacharithamanas" (Epic Poem) - Tulsi Ramayan (Goswami Tulasidas) - "Baal Khand" Part 1
Sri Sita - Lakshmana Sahitha Sri Ramachandra (Kodandarama) Seva @ My Home Thirumaligai dur...
published: 06 Jun 2012
author: vchak66
"Sri Ramacharithamanas" (Epic Poem) - Tulsi Ramayan (Goswami Tulasidas) - "Baal Khand" Part 1
Sri Sita - Lakshmana Sahitha Sri Ramachandra (Kodandarama) Seva @ My Home Thirumaligai during Panchaparvam Observance 2011. The accompanying Hindhi Musical C...
- published: 06 Jun 2012
- views: 6676
- author: vchak66
15:30
![](http://web.archive.org./web/20130509083248im_/http://i.ytimg.com/vi/-zRbA4A_vPE/default.jpg)
Taxi and takeoff from Manas Airport, Bishkek, Kyrgyzstan (FRU)
The taxi was a bit long and the runway a little rough, but it was a beautiful day at Manas...
published: 20 Apr 2012
author: JonBrowneMenzies
Taxi and takeoff from Manas Airport, Bishkek, Kyrgyzstan (FRU)
The taxi was a bit long and the runway a little rough, but it was a beautiful day at Manas. The Kyrgyz countryside is really breathtaking from the air! Some ...
- published: 20 Apr 2012
- views: 4362
- author: JonBrowneMenzies
10:59
![](http://web.archive.org./web/20130509083248im_/http://i.ytimg.com/vi/KfXDzk_7Qpo/default.jpg)
Akhand Paath of Sri Ram Charit Manas - Manglacharan & Aarti
अखंड पाठ - श्री राम चरित मानस - Part 1 (प्रस्तावना) Shri Ramcharitmanas (Devanāgarī: श्रीर...
published: 08 Sep 2012
author: realindians
Akhand Paath of Sri Ram Charit Manas - Manglacharan & Aarti
अखंड पाठ - श्री राम चरित मानस - Part 1 (प्रस्तावना) Shri Ramcharitmanas (Devanāgarī: श्रीरामचरितमानस, IAST: Śrīrāmacaritamānasa), also spelt Shri Ramcharitam...
- published: 08 Sep 2012
- views: 1239
- author: realindians
60:32
![](http://web.archive.org./web/20130509083248im_/http://i.ytimg.com/vi/5lCnYw5D9JE/default.jpg)
"Sri Ramacharithamanas" (Epic Poem) - Tulsi Ramayan (Goswami Tulasidas) - "Sunder Khand" Part 1
Sri Sita - Lakshmana Sahitha Sri Ramachandra (Kodandarama) Seva @ My Home Thirumaligai dur...
published: 07 Jun 2012
author: vchak66
"Sri Ramacharithamanas" (Epic Poem) - Tulsi Ramayan (Goswami Tulasidas) - "Sunder Khand" Part 1
Sri Sita - Lakshmana Sahitha Sri Ramachandra (Kodandarama) Seva @ My Home Thirumaligai during Panchaparvam Observance 2011. The accompanying Hindhi Musical C...
- published: 07 Jun 2012
- views: 3057
- author: vchak66
Vimeo results:
16:19
![](http://web.archive.org./web/20130509083248im_/http://b.vimeocdn.com/ts/183/919/183919955_200.jpg)
GESTALT WORK ON AWARENESS (HQ) - PART גשטאלט - מודעות - חלק 1
HQ. gestalt work on awareness, part 1. hebrew subtitles added.
BY FRANKLYN WEPNER ...
published: 13 Aug 2011
author: franklyn wepner
GESTALT WORK ON AWARENESS (HQ) - PART גשטאלט - מודעות - חלק 1
HQ. gestalt work on awareness, part 1. hebrew subtitles added.
BY FRANKLYN WEPNER SEPTEMBER 1, 2006
HOW I WORK: GESTALT DREAMWORK AS THEATER AND PROPHECY
GESTALT DREAM WORK AS PREPARATION FOR PERFORMING
Since 1975 I have been using Gestalt work on awareness, dreams and personal relationships as a way to train and direct performers. The basic principle is simple. I use the Gestalt work to peel the onion of layer after layer of social cliches, ego games and unfinished personal business, and then I do the reverse process reconstituting the onion in the form of characters or other artist structures. The existential message of the dream becomes the superobjective or action of the tragedy, and then I build up the way the performer handles the characters and the plot around that.
My usual procedure is to begin the training with three Gestalt sessions, one on one. The first session, two hours long, deals with the three zones of awareness. During the first hour I simply let him relate what he aware of, since I want to know how he operates before I start meddling with his life. This is important since overall during the Gestalt sessions we are peeling the onion of cliches and games to get to authentic action, and later we will need all of those layers to rebuild the onion as characters involved in the unfolding action of a drama. We need his cliche and game layers for the beginning of the action in Act One as much as we need his authentic action at the end of the dramatic action for Acts Four and Five of a tragic drama.
During the second hour of the first Gestalt session on awareness I attempt to guide him towards a balance of the zones of awareness: outer zone awareness of the environment, inner zone awareness of his body, and fantasy zone awareness of his daydreams. The second and third Gestalt sessions are each three hours long, and each is a typical Gestalt dreamwork session as presented by Fritz Perls in Gestalt Therapy Verbatim. The performer tells the dream in the here and now, identifies with (play acts) several of the main images of the dream in dialogues with each other, and experiences the rhythm of contact and withdrawal. That is to say, after each major dialogue of polarized sides of himself (the contact part) he is instructed to close his eyes, enter his body awareness and daydream (the withdrawal phase of the rhythm).
Since my goal is theater as well as healing, whenever possible during the Gestalt dreamwork I encourage lots of expression using sound and movements. I work with a palette of about 200 different types of recorded musical excerpts, and whenever appropriate I ask him if that image or emotional state were part of a movie what sort of music might be the sound track. Then I find something close to that in my palette of musical colors and ask him to express the mood using the music along with his vocalizing and expressive movements. While he is doing the entire session I spend most of my time jotting down near verbatim notes and making stick figures of his poses and movements, since later in the work I will feed all this back to him and encourage him to explore using it as creative material for acting, dance or whatever his medium is. Taping the session is less useful, since then I would need to spend too much time replaying the tapes. Taking notes live forces me to sort out the wheat from the chaff very efficiently, even at the cost of not observing or notating every detail.
WORKING OUT FROM YOUR CENTERS
After the three introductory one on one Gestalt sessions, session number four is for feedback and discussion of the results. I show him in my notes and diagrams all of the stages of competed and uncompleted actions, and together we search for characters in the theater literature that have similar patterns of action. Is he a Hamlet type, or an Oedipus type, for example? In contrast to the usual practice in acting classes, his first acting assignment probably will be a monologue from a serious tragedy, since I want him to begin with a dramatic action with which he can identify totally. In this process he is using his major Gestalt moments as what Michael Chekhov in his book "To The Actor" labels "psychological gestures". Perls calls them the "essences" of a patient's personality, or we can say he is working from his "centers", stretching those sounds, moves and psychological motivations in as many creative directions as he can. I monitor closely to be sure he is not faking it, the way most actors end up doing since they do not have the centers to begin with.
Before the performer begins working with others doing improvs and scenework, there is an important transitional stage in the work in which I help him get comfortable using his very personal Gestalt material freely as creative material. He needs to shift from seeing himself as a patient to enjoying the role of an artist of the
29:21
![](http://web.archive.org./web/20130509083248im_/http://b.vimeocdn.com/ts/115/244/115244796_200.jpg)
GESTALT WORK ON AWARENESS WITH BEL part 3 (HQ)
part 3 of a two hour gestalt session on awareness with actress bel baca. the focus here is...
published: 01 Jan 2011
author: franklyn wepner
GESTALT WORK ON AWARENESS WITH BEL part 3 (HQ)
part 3 of a two hour gestalt session on awareness with actress bel baca. the focus here is "the rhythm of contact and withdrawal", alternating between contact with the environment and withdrawal into the void of "not knowing" to discover what fantasies and new ideas are waiting to emerge into awareness there.
TO VIEW OR DOWNLOAD ALL OF MY VIDEOS, PLUS 1500 PAGES OF MY EXPLANATORY ESSAYS (ALL AT NO CHARGE) PLEASE VISIT MY WEBSITE: franklynwepner.com. ALSO PLEASE NOTE MY NEW EMAIL ADDRESS, IF YOU WOULD LIKE TO SHARE WITH ME ANY COMMENTS ABOUT MY WORK: franklynwepner@gmail.com. IN THE LISTING OF VIDEOS THE LETTERS (HQ) REFER TO A HIGHER QUALITY VERSION OF THE VIDEO, WHICH IS AVAILABLE TO YOU IF YOUR COMPUTER CAN HANDLE IT.
BY FRANKLYN WEPNER SEPTEMBER 1, 2006
HOW I WORK: GESTALT DREAMWORK AS THEATER AND PROPHECY
GESTALT DREAM WORK AS PREPARATION FOR PERFORMING
Since 1975 I have been using Gestalt work on awareness, dreams and personal relationships as a way to train and direct performers. The basic principle is simple. I use the Gestalt work to peel the onion of layer after layer of social cliches, ego games and unfinished personal business, and then I do the reverse process reconstituting the onion in the form of characters or other artist structures. The existential message of the dream becomes the superobjective or action of the tragedy, and then I build up the way the performer handles the characters and the plot around that.
My usual procedure is to begin the training with three Gestalt sessions, one on one. The first session, two hours long, deals with the three zones of awareness. During the first hour I simply let him relate what he aware of, since I want to know how he operates before I start meddling with his life. This is important since overall during the Gestalt sessions we are peeling the onion of cliches and games to get to authentic action, and later we will need all of those layers to rebuild the onion as characters involved in the unfolding action of a drama. We need his cliche and game layers for the beginning of the action in Act One as much as we need his authentic action at the end of the dramatic action for Acts Four and Five of a tragic drama.
During the second hour of the first Gestalt session on awareness I attempt to guide him towards a balance of the zones of awareness: outer zone awareness of the environment, inner zone awareness of his body, and fantasy zone awareness of his daydreams. The second and third Gestalt sessions are each three hours long, and each is a typical Gestalt dreamwork session as presented by Fritz Perls in Gestalt Therapy Verbatim. The performer tells the dream in the here and now, identifies with (play acts) several of the main images of the dream in dialogues with each other, and experiences the rhythm of contact and withdrawal. That is to say, after each major dialogue of polarized sides of himself (the contact part) he is instructed to close his eyes, enter his body awareness and daydream (the withdrawal phase of the rhythm).
Since my goal is theater as well as healing, whenever possible during the Gestalt dreamwork I encourage lots of expression using sound and movements. I work with a palette of about 200 different types of recorded musical excerpts, and whenever appropriate I ask him if that image or emotional state were part of a movie what sort of music might be the sound track. Then I find something close to that in my palette of musical colors and ask him to express the mood using the music along with his vocalizing and expressive movements. While he is doing the entire session I spend most of my time jotting down near verbatim notes and making stick figures of his poses and movements, since later in the work I will feed all this back to him and encourage him to explore using it as creative material for acting, dance or whatever his medium is. Taping the session is less useful, since then I would need to spend too much time replaying the tapes. Taking notes live forces me to sort out the wheat from the chaff very efficiently, even at the cost of not observing or notating every detail.
WORKING OUT FROM YOUR CENTERS
After the three introductory one on one Gestalt sessions, session number four is for feedback and discussion of the results. I show him in my notes and diagrams all of the stages of competed and uncompleted actions, and together we search for characters in the theater literature that have similar patterns of action. Is he a Hamlet type, or an Oedipus type, for example? In contrast to the usual practice in acting classes, his first acting assignment probably will be a monologue from a serious tragedy, since I want him to begin with a dramatic action with which he can identify totally. In this process he is using his major Gestalt moments as what Michael Chekhov in his book "To The Actor" labels "psychological gestures". Per
25:52
![](http://web.archive.org./web/20130509083248im_/http://b.vimeocdn.com/ts/187/242/187242623_200.jpg)
GESTALT - AWARENESS PART כותרות בעברית. גשטאלט - מודעות חלק 2 .HQ
HQ. GESTALT - AWARENESS PART גשטאלט - מודעות חלק 2
HEBREW SUBTITLES ADDED
כותרים בעברית
g...
published: 24 Aug 2011
author: franklyn wepner
GESTALT - AWARENESS PART כותרות בעברית. גשטאלט - מודעות חלק 2 .HQ
HQ. GESTALT - AWARENESS PART גשטאלט - מודעות חלק 2
HEBREW SUBTITLES ADDED
כותרים בעברית
gestalt therapy work on awareness with actress bel baca.
second part of "unguided awareness work", in which i
give bel feedback for the work she did in the first part.
part 3 begins the work on "guided awareness", where i closely supervise her work on awareness, and give instantaneous feedback as she goes along.
TO VIEW OR DOWNLOAD ALL OF MY VIDEOS, PLUS 1500 PAGES OF MY EXPLANATORY ESSAYS (ALL AT NO CHARGE) PLEASE VISIT MY WEBSITE: franklynwepner.com. ALSO PLEASE NOTE MY NEW EMAIL ADDRESS, IF YOU WOULD LIKE TO SHARE WITH ME ANY COMMENTS ABOUT MY WORK: fwep@earthlink.net. IN THE LISTING OF VIDEOS THE LETTERS (HQ) REFER TO A HIGHER QUALITY VERSION OF THE VIDEO, WHICH IS AVAILABLE TO YOU IF YOUR COMPUTER CAN HANDLE IT.
BY FRANKLYN WEPNER SEPTEMBER 1, 2006
HOW I WORK: GESTALT DREAMWORK AS THEATER AND PROPHECY
GESTALT DREAM WORK AS PREPARATION FOR PERFORMING
Since 1975 I have been using Gestalt work on awareness, dreams and personal relationships as a way to train and direct performers. The basic principle is simple. I use the Gestalt work to peel the onion of layer after layer of social cliches, ego games and unfinished personal business, and then I do the reverse process reconstituting the onion in the form of characters or other artist structures. The existential message of the dream becomes the superobjective or action of the tragedy, and then I build up the way the performer handles the characters and the plot around that.
My usual procedure is to begin the training with three Gestalt sessions, one on one. The first session, two hours long, deals with the three zones of awareness. During the first hour I simply let him relate what he aware of, since I want to know how he operates before I start meddling with his life. This is important since overall during the Gestalt sessions we are peeling the onion of cliches and games to get to authentic action, and later we will need all of those layers to rebuild the onion as characters involved in the unfolding action of a drama. We need his cliche and game layers for the beginning of the action in Act One as much as we need his authentic action at the end of the dramatic action for Acts Four and Five of a tragic drama.
During the second hour of the first Gestalt session on awareness I attempt to guide him towards a balance of the zones of awareness: outer zone awareness of the environment, inner zone awareness of his body, and fantasy zone awareness of his daydreams. The second and third Gestalt sessions are each three hours long, and each is a typical Gestalt dreamwork session as presented by Fritz Perls in Gestalt Therapy Verbatim. The performer tells the dream in the here and now, identifies with (play acts) several of the main images of the dream in dialogues with each other, and experiences the rhythm of contact and withdrawal. That is to say, after each major dialogue of polarized sides of himself (the contact part) he is instructed to close his eyes, enter his body awareness and daydream (the withdrawal phase of the rhythm).
Since my goal is theater as well as healing, whenever possible during the Gestalt dreamwork I encourage lots of expression using sound and movements. I work with a palette of about 200 different types of recorded musical excerpts, and whenever appropriate I ask him if that image or emotional state were part of a movie what sort of music might be the sound track. Then I find something close to that in my palette of musical colors and ask him to express the mood using the music along with his vocalizing and expressive movements. While he is doing the entire session I spend most of my time jotting down near verbatim notes and making stick figures of his poses and movements, since later in the work I will feed all this back to him and encourage him to explore using it as creative material for acting, dance or whatever his medium is. Taping the session is less useful, since then I would need to spend too much time replaying the tapes. Taking notes live forces me to sort out the wheat from the chaff very efficiently, even at the cost of not observing or notating every detail.
WORKING OUT FROM YOUR CENTERS
After the three introductory one on one Gestalt sessions, session number four is for feedback and discussion of the results. I show him in my notes and diagrams all of the stages of competed and uncompleted actions, and together we search for characters in the theater literature that have similar patterns of action. Is he a Hamlet type, or an Oedipus type, for example? In contrast to the usual practice in acting classes, his first acting assignment probably will be a monologue from a serious tragedy, since I want him to begin with a dramatic action with which he can identify totally. In this process he is using
37:11
![](http://web.archive.org./web/20130509083248im_/http://b.vimeocdn.com/ts/114/069/114069884_200.jpg)
GESTALT WORK ON AWARENESS WITH BEL pt 2 (HQ)
second part of a two hour session on awarenesss with actress bel baca. this is the "guided...
published: 26 Dec 2010
author: franklyn wepner
GESTALT WORK ON AWARENESS WITH BEL pt 2 (HQ)
second part of a two hour session on awarenesss with actress bel baca. this is the "guided awareness" part of the exercise, since here i am giving lots of feedback immediately as things happen. in the "unguided" part i waited about 15 minutes before giving feedback. i continue this "guided" process in the 3rd and last part, the next video.
BY FRANKLYN WEPNER SEPTEMBER 1, 2006
HOW I WORK: GESTALT DREAMWORK AS THEATER AND PROPHECY
GESTALT DREAM WORK AS PREPARATION FOR PERFORMING
Since 1975 I have been using Gestalt work on awareness, dreams and personal relationships as a way to train and direct performers. The basic principle is simple. I use the Gestalt work to peel the onion of layer after layer of social cliches, ego games and unfinished personal business, and then I do the reverse process reconstituting the onion in the form of characters or other artist structures. The existential message of the dream becomes the superobjective or action of the tragedy, and then I build up the way the performer handles the characters and the plot around that.
My usual procedure is to begin the training with three Gestalt sessions, one on one. The first session, two hours long, deals with the three zones of awareness. During the first hour I simply let him relate what he aware of, since I want to know how he operates before I start meddling with his life. This is important since overall during the Gestalt sessions we are peeling the onion of cliches and games to get to authentic action, and later we will need all of those layers to rebuild the onion as characters involved in the unfolding action of a drama. We need his cliche and game layers for the beginning of the action in Act One as much as we need his authentic action at the end of the dramatic action for Acts Four and Five of a tragic drama.
During the second hour of the first Gestalt session on awareness I attempt to guide him towards a balance of the zones of awareness: outer zone awareness of the environment, inner zone awareness of his body, and fantasy zone awareness of his daydreams. The second and third Gestalt sessions are each three hours long, and each is a typical Gestalt dreamwork session as presented by Fritz Perls in Gestalt Therapy Verbatim. The performer tells the dream in the here and now, identifies with (play acts) several of the main images of the dream in dialogues with each other, and experiences the rhythm of contact and withdrawal. That is to say, after each major dialogue of polarized sides of himself (the contact part) he is instructed to close his eyes, enter his body awareness and daydream (the withdrawal phase of the rhythm).
Since my goal is theater as well as healing, whenever possible during the Gestalt dreamwork I encourage lots of expression using sound and movements. I work with a palette of about 200 different types of recorded musical excerpts, and whenever appropriate I ask him if that image or emotional state were part of a movie what sort of music might be the sound track. Then I find something close to that in my palette of musical colors and ask him to express the mood using the music along with his vocalizing and expressive movements. While he is doing the entire session I spend most of my time jotting down near verbatim notes and making stick figures of his poses and movements, since later in the work I will feed all this back to him and encourage him to explore using it as creative material for acting, dance or whatever his medium is. Taping the session is less useful, since then I would need to spend too much time replaying the tapes. Taking notes live forces me to sort out the wheat from the chaff very efficiently, even at the cost of not observing or notating every detail.
WORKING OUT FROM YOUR CENTERS
After the three introductory one on one Gestalt sessions, session number four is for feedback and discussion of the results. I show him in my notes and diagrams all of the stages of competed and uncompleted actions, and together we search for characters in the theater literature that have similar patterns of action. Is he a Hamlet type, or an Oedipus type, for example? In contrast to the usual practice in acting classes, his first acting assignment probably will be a monologue from a serious tragedy, since I want him to begin with a dramatic action with which he can identify totally. In this process he is using his major Gestalt moments as what Michael Chekhov in his book "To The Actor" labels "psychological gestures". Perls calls them the "essences" of a patient's personality, or we can say he is working from his "centers", stretching those sounds, moves and psychological motivations in as many creative directions as he can. I monitor closely to be sure he is not faking it, the way most actors end up doing since they do not have the centers to begin with.
Before the performer begins working with others
Youtube results:
5:53
![](http://web.archive.org./web/20130509083248im_/http://i.ytimg.com/vi/gSeOY5liXyk/default.jpg)
Darkestrah - Манас-батыр (Manas-batyr) excerpt
...
published: 30 Aug 2012
author: Almambet Baghatur
Darkestrah - Манас-батыр (Manas-batyr) excerpt
- published: 30 Aug 2012
- views: 2239
- author: Almambet Baghatur
395:19
![](http://web.archive.org./web/20130509083248im_/http://i.ytimg.com/vi/L-dHr6C2RNg/default.jpg)
Akhand Paath of Sri Ram Charit Manas - Baal Kaand - Tulsidas
अखंड पाठ - श्री राम चरित मानस - बाल काण्ड The Child Episode Prior to starting the actual s...
published: 08 Sep 2012
author: realindians
Akhand Paath of Sri Ram Charit Manas - Baal Kaand - Tulsidas
अखंड पाठ - श्री राम चरित मानस - बाल काण्ड The Child Episode Prior to starting the actual story, Goswami Tulsidas begins with the invocation of various deitie...
- published: 08 Sep 2012
- views: 4888
- author: realindians
9:10
![](http://web.archive.org./web/20130509083248im_/http://i.ytimg.com/vi/qQJKdO1lj7s/default.jpg)
malajanha epic 1 part 1
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published: 03 Nov 2011
author: Manas Rath
malajanha epic 1 part 1
- published: 03 Nov 2011
- views: 84
- author: Manas Rath
4:51
![](http://web.archive.org./web/20130509083248im_/http://i.ytimg.com/vi/rhDKCgOvU0U/default.jpg)
Urkash relays Manas
Kyrgyz epic Manas (fragment) performed by Urkash at the festival Echo's Uit de Steppen in ...
published: 20 Nov 2008
author: ORPHOLOGIST
Urkash relays Manas
Kyrgyz epic Manas (fragment) performed by Urkash at the festival Echo's Uit de Steppen in Tropentheater, Amsterdam, November 2007. Filmed by BOOZ.
- published: 20 Nov 2008
- views: 1631
- author: ORPHOLOGIST