1. There Is Never a Reference Point

    01:06:21

    from Thomas Riccio / Added

    226 Plays / / 0 Comments

    There is Never a Reference Point is performance installation inspired by the journal writings and watercolors of Jamie Dakis, a woman diagnosed with Dissociative Identity Disorder, commonly known as multiple personality disorder. The event took the form of an immersive, interactive “walk-through” presentation where “visitors” explored and experienced each of Jamie’s ten personalities. Using live and media performance, Jamie’s personalities presented themselves, interacting, sharing histories, artifacts, visions, and inspirations, to portray the complexity of Jamie's overlapping and multiple realities. Each visitor into her consciousness was required to put together their own understanding of a Jamie’s world, and in turn, their own. Each personality was performed by an actor; the personalities included: 1) Jamie, the host, 2) Patricia, the abused young girl, 3) Patty, the conflicted teenager, 4) Misty, the young stripper, 5) James, the cowboy protector, 6) Rita, the rational student, 7) Marta, the angry, judgmental mother, 8) Magick, the fun loving sexy goddess, 9) Chica, the innocent dancer and artist, and 10) Cleopatra, the reassuring and wise archetype. Fifty-Two performances were presented at the University of Texas at Dallas and at South Side on Lamar (where this video was shot), February -April 2006. This video documentary was presented at the Dallas Video Festival, November 2009. The event was conceived and directed by Thomas Riccio, professor of Performance Studies and Artistic Director of Story Lab, the University of Texas at Dallas' initiative to research and develop new performance expressions.

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    • When Drama Helps...

      02:53

      from Dominik Wurnig / Added

      20 Plays / / 0 Comments

      This video is about Lana Finikin and the Sistrin Theatre Group

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      • Theatre for Change 2012: "In Transit: Braking at the Intersections"

        09:14

        from CIIS Drama Therapy / Added

        298 Plays / / 0 Comments

        Cast: Aileen B. Cho, Sarah Pizer-Bush, Truc Thanh Nguyen, Latille "Tia" Phillips, Daniel Smith, Marissa Snoddy, and Alice Vasquez. Directed by Alexis Lezin and Renée Emunah Theatre for Change is a project of the CIIS Drama Therapy Program. The aim of the project is to educate and raise consciousness about diversity at CIIS (and beyond); to give voice and representation to people of color and LGBTQ people; to invite dialogue at CIIS about oppression, privilege, equality, and alliance; and to encourage our audiences to fight injustice on personal, institutional, and societal levels. The project began in 2003. In Transit: Braking at the Intersections is the project’s 6th original production. In Transit was staged last year at the North American Drama Therapy Association conference (NADTA), at CIIS and at CounterPulse Theatre. Two past theatre pieces, Scene/Unseen, and Acts of Resilience, were also performed at NADTA conferences. Recently, NADTA honored the CIIS Theatre for Change with its Raymond Jacobs Memorial Diversity Award. Theatre for Change performance pieces grow out of improvisation; methods of drama therapy, self-revelatory performance, educational theatre, and Theatre of the Oppressed; listening to stories within the group and in the Institute; and a lot of dialogue. Each original theatre piece is collectively developed by the troupe and director/s. The Drama Therapy Program is committed to personal healing as well as social transformation. For more information about Theatre for Change, please contact the Drama Therapy Program office—(415) 575-6230, or e-mail Renée Emunah at remunah@ciis.edu. For information on the Drama Therapy Program, please e-mail Jeff Aitken at jaitken@ciis.edu. We are grateful to the MCJ Amelior Foundation for a grant in support of this Theatre for Change production. We are also grateful for the support of the CIIS offices of the Dean of Students, the Academic Vice-President, and Student Alliance. Special thanks to Shirley Strong and Monique LeSarre.

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        • Comedy Engagement Sessions

          09:11

          from Silver Comedy / Added

          33 Plays / / 0 Comments

          This film shows examples of the type of interactive games and methods we use in comedy engagement sessions. Activities include role play games and improvised comedy drama.

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          • Excerpt from Standing Tall

            06:24

            from NYU Steinhardt / Added

            225 Plays / / 0 Comments

            Having witnessed an airliner crashing into the second World Trade Center tower, on September 11, 2001, fourth- and fifth-grade students at Manhattan's P.S. 3 work through their feelings about the experience with the help of drama therapist, Dr. Robert Landy, and a group of youth theater professionals. Through a series of drama workshops, the group develops an original play based on the children's roles and stories. Here is an excerpt from the film Standing Tall, which documents the transformation of the young students' stories into a theatrical performance. It offers a compelling portrait of the sometimes amazing coping strengths that children can display when they are able to work through such experiences with the help of skilled, supportive adults. For more information about the project, or to purchase the entire film, please visit: gladeyesfilms.com/films.html#standing

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            • Improv at Daybreak

              03:46

              from You and Media / Added

              530 Plays / / 0 Comments

              'Improv at Daybreak' provides a glimpse into the Monday morning Drama program at L'Arche Daybreak, an inclusive community for adults with intellectual disabilities in Richmond Hill, Ontario. The film features interviews with core members and assistants, and snippets of all of them having boatloads of fun together as they improvise their way through theatre games. Improv teacher Brian G. Smith shares with the group his experience as a member of Toronto's famous 'The Second City' comedy theatre.

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              • Teach me how to Dougie..

                02:29

                from Shelah Marie / Added

                86 Plays / / 0 Comments

                Just hanging out with some cool kids in Mirebalais. Do yourself a favor and watch until the end.

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                • Update Six -- Sustainable Theater Workshop -- Missed it!

                  01:46

                  from Shelah Marie / Added

                  45 Plays / / 0 Comments

                  The night before I leave and the morning of the big flight!

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                  • Update Five -- Sustainable Theater Workshop -- 3 weeks to go!

                    09:50

                    from Shelah Marie / Added

                    38 Plays / / 0 Comments

                    Three weeks until I leave for San Rafael, Haiti.

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                    • NACHMAN OF BRESLAV & CHILDREN WHO HATE part 2, based on likutei moharan lessons 64, 22 & 282

                      56:52

                      from franklyn wepner / Added

                      69 Plays / / 0 Comments

                      Likutei Moharan lessons 64, 22 & 282 applied to drama therapy, music therapy, and gestalt therapy work with aggressive children. Using data from a workshop I conducted in 1973 in a special education school in New York City, and which I reported in my article, "The Theory & Practice of Orientation Therapy", which was published in "The Drama Review" in November 1973, edited by Richard Schechner. Originally I interpreted the data from an anthropological point of view, making use of Victor Turner's "The Ritual Process", von Uexkull's phenomenological theory of the "umwelt", and the work of Clifford Geertz. Today, 40 years later, I am re-examining my data from the Jewish Hassidic point of view of Nachman of Bresav. Nachman says, "were they to hear just one of my lessons together with its proper melody and dance, they would reach a state of total transcendence. I mean the whole world, even the animals and plants, everything that exists would be nullified. their very souls would depart from the overwhelming delight they would experience." In LM 64, LM 22 and LM 282 Nachman tells us how to get these results. Applying Nachman's advice to my workshop data here shows how well Nachman's theory explains what actually happened in the workshop. LM 64: MAIN IDEAS in relation to orientation therapy (1)TSIMTSUM AS NEGATION, GOD'S COMPASSION god created the world due to his compassion the two types of negation together are the complete dialectic the complete dialectic is complete fear (jerusalem) and moshe will sing TSIMTSUM 1 compassion/tsimtsum 1 contracts the light of god to create each thing creation begins with withdrawing the light: vacated space deduction as clock time and linear space x/-x impasse, transgression, as gate TSIMTSUM 2 compassion/tsimtsum 2 negates the x/-x negations induction, awareness, subject/object, "chen", creates a world there atzilut as nearest, strongest gestalt, origin time as messianic now, place as ascent via circular local motion these new ideas from the vacated space illuminate dead form, evil, "egypt" created world as live form, skin is on it and in it moshe will sing: ascent elevates dead form, vacated space to pure speech ................................. CWH light already withdrawn, in vacated space, at impasse, stuck in transgression, excess deduction, stasis, incongruence, frozen symbolizations & orientations OT projections onto intermediate objects as platonic collection of good points OT as melody, music, singing of moshe, pure tongue OT shift from violence to creative aggression as language attacking language OT as induction, negates the negations OT as complete concrete dialectic elevates the fallen souls, sparks, shattered vessels, OT restores flow, equilibrium, balances L/R, subject/object, orientation/symbolization OT brechtian comments and hindsight as god mocking pharaoh, live form, skin of grasshopper as garment on it and in it OT emerging trust as faith encompassing vacated space, moshe will sing (2) TWO TYPES OF HERESY BASED ON TSIMTSUM 1 self-interruption of the action, the complete dialectic interrupting tsimtsum 1 removes limits to emanation, inner seal, enclosure excess light changes atzilut (nearness) to separation, partitioning subject/object link of good contact lost essences, letters of the word reify into habits due to excess light they compete to be dominant gestalts this is shattering of the vessels due to excess light from vessels of the light to magic (designing devices, manipulations) x/-x extremes derive from x/-x essences, pure ideas, strong gestalts find the idea, contact points, in each thing so identification with the two sides restores the higher level gestalt chen as chiut/nun, chochmah/binah, two birds, contact boundary restores equilibrium of subject/object, orientation/symbolization then translation repairs the heresy when moshe will sing BASED ON TSIMTSUM 2 self-interruption of the C/W process stuck in excess deduction, alchemical earth, philosophical conundrums lacking faith that surrendering to the void will be productive not getting ideas, confluence jews as ivrim (hebrew: OVRim): induction prevails over deduction fertile void vs sterile void ..................................... CWH excess light due to lack of inner seal shattering of vessels: compartmentalized languages, reified habits O/S equilibrium as induction encompasses x/-x splits, repairs vessels (3) MOSHE AS TSADDIK as tsaddik of the generation, induction moshe encompasses, elevates x/-x souls stuck in deduction creation begins by means of the spoken word letters of the word set the limits, boundaries of each thing, essences, deduction this is the contact boundary, objective history of essences, letters of the dialectic but only enough monologue to create the world excess verbalizing leads to x/-x extremes, impasses but in the vacated space, impasse, there is no monologue, objective history moshe tsaddik is "KVaD PeH", tangibility of mouth moshe deals with the impasse by means of induction, silence, fertile void this is higher level than speech as deduction this is the complete word, rather than half of the word adds alchemical air and fire to water and earth (4) CREATION AND REDEMPTION CREATION IS BY MEANS OF THE SPOKEN WORD tsimtsum 1, inner seal, katnut, deduction, constriction, circle the GT monologue as objective history, vacated space(s) therefore creation is via dispute dispute by torah scholars helps god create the world each one withdraws to opposite side, creating the vacated space deduction, ramification creates a world with clock time and measured space but only enough speech and dispute to create the world the speech, language of each x/-x pair of essences REDEMPTION, TIKKUN IS MY MEANS OF SILENCE tsimtsum 2, outer seal, gadlut, induction, expansion, spiral too much talk creates evil tsaddik in aspect of moshe operates in mode of silence this is the complete word moshe's complete dialectic as translation tikkun as negation of the negations from clock time to messianic now from measured space to ha-makom from speech of x/-x essences to pure language the complete dialectic from objective history to identifying with the coming solution ....................................... OT as silence since nonverbal messianic time and ha-makom spiral languages of themes encompassed by pure tongue as moshe will sing "we will do" shifts to "we will hear" (5) MUSIC melody of the tsaddik elevates heresy souls from vacated space each wisdom derives from related song: "zamru maskil" (sing song of contact) each song & its wisdom mutually dependent, on all levels & aspects, pure or idolatrous at level of atzilut, ohr eyn sof "there is nothing surrounding the wisdom there other than the light of eyn sof that surrounds the vacated space in which are all the creations and all the wisdoms." impossible to know light of eyn sof deduction cannot fathom induction only faith is there, with its own song and melody each idolatrous faith has its melody which they sing and "connect, symbolize" in their house of indecency in future moshe will sing from summit of faith with pure speech, silence, thought all materialists and their melodies will be encompassed and made null in that melody "were they to hear just one of my lessons together with its proper melody and dance, they would reach a state of total transcendence. I mean the whole world, even the animal and plants, everything that exists would be nullified. Their very souls would depart from the overwhelming delight they would experience." ..................... poetry as mother tongue of the human race, ritual process (circle) LM 22 from "we will do" (antithesis) to "we will hear" (identity, thesis) then we will hear to we will do (difference, antithesis) then alternating we will do and we will hear this is identity in difference, synthesis, spiral, translation, and moses will sing ......................... OT is following "it", as moshe will sing, we will hear OT: "it" is light of eyn sof surrounding vacated space in which are all creations & wisdoms induction>deduction, impossible to know "it" trust/faith allow group to follow "it" & risk building world inductively in vacated space zamru maskil: OT as song of full contact, song of glory OT a theme is melody of an idolatrous faith, symbolizations in its house of indecency OT: materialists and their songs (symbolizations) nullified as moshe sings this is the state of total transcendence of deduction by induction OT is translation OT is refining of good from the evil of the shattered vessels refining in crucible, vacant space (air) by wisdom (fire) (6) MOSHE IN EGYPT dead form as hardening the heart of pharaoh so impossible to find god there live form as letters of moshe (atzilut) set into midst of vacated space, dead form with those letters you can speak the word to your generations SO illuminates objective history performer on top, made in image of god riding the aravot mocking dead forms of pharaoh: parody as god in midst of evil, of vacant space locusts tomorrow as live form in messianic now - garment on him and in him summit of faith in the messianic now heresy of vacated space nullified

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