All video: Illumicorp (A spoof Illuminati training video)
We're being controlled by secret societies
their evil actions speak louder than words
it's in their very nature to stay hidden
while they're destroying Gods beautiful world
freemasons are pulling the strings
believing Lucifer is their angel of light
the whole wide world will be theirs if they follow his lead
and we won't notice what's hidden in plain sight
and who's the figure head to all this secrecy
who's heading up tis occult agenda
Satan himself is behind this whole mess
but I believe in Jesus and I won't surrender
they're using war for their evil agenda
to remove any leader who just won't submit
to their debt-laden control and corruption
they'll crush any power who stand against their politics
and they've purchased nearly all forms of media
to spout propaganda to brainwash the masses
and they're manipulation things that our children learn
as they're trained to comply in their classes
I believe in Jesus the King of Kings
with his heel, He'll crush that serpents head
He's coming back to bring truth and justice
and that occult agenda can go to hell and stay dead
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: firstname.lastname@example.org. 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". 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 theater, freely using his life as creative material. He needs to distance himself from the hot personal stuff using alienation techniques usually associated with the epic theater process of Bertold Brecht. Especially useful here is the "mocking your forms" exercise. First he performs one of his most personal forms, the movements and the sounds, and at the same time observes carefully (visually and kinesthetically) exactly what his body and voice are doing. Next he moves over about ten feet and from the new position looks back and imagines he is observing himself doing what he just did. Then, in as critical a manner as he can risk, he begins to mock that image of himself which is doing the form. He uses the form to mock the form by exaggerating it in as grotesque a way as he can risk. "I see you over there, Joe, you are flapping your arms just like a fish, like you don't know what you are doing, etc., etc." The more cruelty he can risk in his distortions and denunciations, the more he frees himself from being self-conscious and also the more the initial one physical and vocal form gives birth to a family of related forms. Other techniques which help expand and loosen up hot psychological material are (a) using various sorts of music as the basis of improvs, (b) stretching the forms into naturalistic short scenes, such as swimming or basketball, or (c) introducing a short text, such as "Yes, but".
One he has his core of personal essences and after he has achieved some distance and flexibility in the use of his material, he is ready to work with other performers on improvs and scenes. I can direct several performers simultaneously since I know the sources of their personal material. I am directing them inside and out, so it is not just guesswork and wishful thinking as in most studios. Here again there are certain exercises which are particularly helpful in developing communication between performers and establishing a group improv structure that allows each person to use his personal material in a creative manner. Basic acting or dance improv exercises used by all studios work much better once each performer has a stock of essences to guide his explorations. The mirror exercise and funnyhouse mirror exercise are excellent to establish contact and get the process going. In the funnyhouse mirror exercise one performer, the lead, does a simple real life activity such a brushing his teeth, while the partner grotesquely parodies the lead. In the conductor exercise the lead does only movements while the group "orchestra" does only sounds that correspond to those moves. The puppets exercise is the reverse of the conductor exercise. The lead make sounds, while the group functions as marionettes suspended by strings. Each sound from the lead elicits corresponding jerky moves from the group, as though the sounds are tugging on the strings. The worlds exercise is an opportunity for one performer to explore using all his personal Gestalt material, while a group uses all the improv techniques above to work with the lead in his "world". Once each performer has done the worlds exercise, the last exercise in the series is the leaderless worlds exercise. Here each performer is both lead and follower. The entire group seeks to function as one group organism following "it". Each one actively takes turns as the lead and then passively gives up being the lead in order to enter into the world of each of the others. The result is a profound active-passive state known by philosophers as the middle way and by performers as the pure process mode.
THE IDEA OF A THEATER
So far we have a combination of four different ways of working: (1) individual Gestalt work as preparation for artistic experience, (2) alienation techniques for distancing oneself from hot personal material, (3) group improvs to make the transition from therapy results to artistic results, and (4) initial work on characters that are as close to one's centers as possible This mix guides a student through a powerful and totally natural, organic introduction to the art of the theater. Each performer remains within the personal world he has discovered during the dreamwork, while simultaneously expanding and then interweaving this world with the worlds of the other performers. In a sense this process develops the sort of ritualistic space found in "primitive" tribal societies. The artform is congruent with the lives of its participants, such as was likely the case when the small world of a Greek polis gave birth to the classical Greek tragedies which corresponded to the fantasies and personal actions of the members of the community. In "The Idea of a Theater", Francis Fergusson contrasts that ideal ritualistic function of a theater with the theaters of today which in most cases have lost that organic relation between a community and its artforms. We have today lost the encompassing "idea of a theater", and we have to settle for productions that present only what individual blind men can fathom of the entire elephant. Fergusson writes,
Drama can only flourish in a human sized scene, generally accepted as the focus of the life or awareness of its time, and such a focus no longer exists . . . We do not have a theater in the classic sense nor do we see how we could have one. But we may still study the cultural landmarks - the drama of Sophocles and Shakespeare, the Divine Comedy of Dante - in which the idea of a theater has been briefly realized, so we may learn to recognize and appreciate the fragmentary perspectives we do have; collecting the pieces, keeping the idea alive in the tentative, fallible, and suggestive light of analogy. FF225
What we especially have lost is exactly that which Gestalt dreamwork gives us back, the ability to know objects by identifying with them totally, and then to "say it with your whole body". Here is how Antonin Artaud put it in "The Theater And Its Double".
We cannot go on prostituting the idea of theater whose only value is in its excruciating, magical relation to reality and danger. "The Theater And Its Double", 89. To our disinterested and inert idea of art an authentic culture opposes a violently egoistic and magical, i.e., interested idea. For the Mexicans seek contact with the Manas, forces latent in every form, unreleased by contemplation of the forms for themselves, but springing to life by magic identification with these forms. ibid., 11
Fergusson and Artaud use theatrical and philosophical jargon to say what Perls says in psychological jargon. Fergusson uses the term "histrionic sensibility" to mean "identify with the image and say it with your whole body". Fergusson also uses Aristotle's notion of "perception before predication" to refer to Perls' notion of awareness before aboutism. First get in touch with reality and then judge it or add your comments about it.
ARISTOTLE AND FRITZ
Fergusson quotes Butcher's translation of Aristotle's "Poetics".
The plot is the imitation of the action - for by plot I [Aristotle] here mean the arrangement of the incidents . . . But most important of all it is the structure of the incidents. For tragedy is an imitation not of men, but of an action and of life, and life consists in action and its end is a mode of action, not a quality . . . Tragedy, then, is an imitation of an action . . . through pity and fear effecting the proper purgation of these emotions . . . The plot, then, is the first principle and as it were the soul of a tragedy. FF229
In the preparatory Gestalt dreamwork which I do with each performer, oftentimes a 3-hour session concludes with a committed action, profound insight or "existential message of the dream". This is the "ahah" moment of a strong gestalt. From the point of view of this final idea or action, everything that transpired previously during the 3-hour session leads up to and is encompassed by this experience of integration. Fritz tells clients to "identify with the coming solution" as an act of faith. This is Fritz's version of Aristotle's insight that what is actual is prior to what is merely potentially the case. The action, in other words, is somehow already unfolding from the beginning of the session, even though it does not emerge full blown till three hours later. This same notion Aristotle carried over into his notion of action in the theater as a form of poetic art. When he says "the plot is the imitation of the action" he is saying that the series of conflicts and resolutions that lead up to the final choice or revelation in a tragic action are in a certain way an imitation of that final insight or action. They imitate the action in the sense that they are analogous to it or correspond to it. The idea or action of the drama exists on an ideal, Platonic level of truth, to which the stage action can at best only correspond as a code or symbol. Theologically this amounts to saying that while man is made in the image of G-d, he is not G-d and only can seek to intuit how G-d operates and strive to manifest that process in his being and actions. To the extent that he succeeds in this ascent, the performer is serving in the role traditionally assigned to prophets. Contemporary visionaries of the theater such as Fergusson and Artaud will settle for nothing less than a theater which actualizes our prophetic potentiality.
Aristotle's view of the plot as the imitation of an action justifies my use of the Gestalt dreamwork action (the peeling of the onion), as the basis for the theater process (the reconstituting of the onion as a tragic action). For the dreamwork events that unfold over the course of three hours are, in a sense, the plot of a tragedy that is a code, overlay or symbol for the overall action, idea, or existential message of the dreamwork session. I am transferring the plot and action of the dreamwork from the arena of healing to that of art. But it is only in our schizoid, "fallen", fragmented, de-ritualized contemporary society that art and healing are separate events. Humpty Dumpty has fallen off the wall, and utopian, holistic philosophers such as Hegel seek to put Humpty-Dumpty back together again. For Hegel the arts, religion and philosophy are subdivisions of the encompassing realm of Absolute Spirit, and their common dialectical framework allows free movement of theory and practice from one discipline to the other. Gestalt therapy, which leads clients from cliches and habits towards the realm of pure thought (the existential message of the dream) by means of the creative use of imagery, has similar holistic aspirations. Hence Gestalt dreamwork lends itself perfectly to the sort of interdisciplinary manipulations required to allow it to serve as the foundation of a theater which embodies the prophetic vision of "the idea of a theater". VIDEO OF BEL BACA'S WORK ON AWARENESS
VIDEO AND ESSAY BY FRANKLYN WEPNER, 2005
VERBATIM NOTES OF THE SESSION ARE INCLUDED AT THE END OF THIS ESSAY.
This essay is a companion piece for two DVD's which I video-ed in April 2005 and completed editing in November 2005. The DVD's present two hours of gestalt work on "awareness" performed by a young actress named Bel Baca, who recently completed a B.A. in Theater at the University of Central Florida. My audience is primarily those who have seen those DVD's, but I will try to make myself intelligible to those who have not seen them. The particular process which I am describing here is a way of working which I pioneered in 1975 and have been doing in basically the same manner ever since, first in New York, then in Philadelphia, then in Israel and now in Miami, Florida. Therefore, what you are reading here represents the fruit of 30 years experience. Going back further than that, Fritz Perls developed the techniques of Gestalt Therapy around 1950. Going back much further than that, according my own research I believe techniques very similar to these have been used for many many centuries in healing and religious practices all over the world, for example in the middle ages in Judaism and Christianity by priests and rabbis who were exorcizing demons and dybbuks - which we now label "introjects" or "projections". And back in 500 B.C.E. Heraclitus and other philosophers already were writing about the logos (dialectic or word) and self-interruptions of the river of awareness (self-interruptions which we now label "anxiety" and "neurosis"). Gestalt work also has roots in traditions of meditative practices, such as concentrating on your breathing in a Zen monastery. "Meditation" in this sense means to stay in the here and now and deal objectively with whatever comes along in your experience as it is happening.
I am stressing the long history of this process since I want to make it clear from the beginning that I am not doing what nowadays is called "therapy". The "therapy" thing is a recent invention. It implies a formal and legal agreement whereby somebody takes responsibility to guide the life of someone else according to the rules of a certain group of people who have set themselves up as an organization to grant credentials to its members. This "therapy" item, which then can be marketed as a commodity, brings great financial benefits to its practitioners, whether or not it has much value for the consumers who purchase it. Not being grounded in any world tradition of wisdom and morality and with little accountability except to members of the same clique, these moral entrepreneurs set themselves up as self-fashioned gods driving around in divine chariots powered by platinum credit cards rather than true ideas. In my work, on the other hand, I ask people to sign an agreement stating that we are not doing therapy at all. I inform them that I walked out of medical school in 1963 and was thrown out of social work school in 1974, that I am not a licensed therapist and that I am not at all taking responsibility for their lives. I call my colleagues performers and not patients. I tell people from the beginning not to trust me any more than they decide they want to as we go along in the process. In fact, their not trusting me is an important part of our work, as you saw in these DVD's of my work with Bel Baca. As of this moment in December 2005, to date I have done this particular 10 hour series of one-on-one gestalt workshops with about 610 people over the past 30 years, i.e., a total of about 6200 hours, in addition to the other performer training techniques I have been using.
(B) BEL'S AWARENESS WORK
Let's summarize now the first hour of Bel's work, what I label her work on "unguided awareness". During the first hour I did not "direct" the work since I wanted to learn where Bel is starting from, how she usually operates when she is on her own in new, unfamiliar surroundings. Bel from the outset showed us clearly how she operates. In a few minutes already we saw overall a pretty well defined pattern ("gestalt") beginning to emerge: Bel tended to implode in on herself, work herself up to a hysterical state of tension and anxiety, and then rescue herself with some sort of escape fantasy image, all within 15 minutes! At the beginning of the session Bel had a certain amount of contact with the outer zone, balanced by some emphasis on the inner zone. But by the end of the first hour we saw that even after my feedback most of her attention went inside. Gestalt directors talk about the "holes" in a person's awareness functioning or map. In Bel's case where there could be eyes and ears we found at the outset - to a certain extent - holes instead. Especially we saw how she tends to avoid looking directly at people, me (her scene partner) in particular.
Let me be very specific about this. At the beginning Bel limited her contact with outer zone objects to only a few seconds, whereas she felt comfortable spending much time inside. Outside she saw general properties of objects which did not elicit much interest, while inside she zoomed into compelling details. Keeping her eyes half closed much of the time fit into this pattern. For example, until I pointed it out she did not pay much attention to colors or give time for associations and fantasies regarding objects in the environment. Also, she tended to restrain the natural progression from sensing an object to reaching out and touching that object. Being aware of feeling cold, for example, did not connect to reaching out for something warm to wear until I made the connection for her! I did not call her attention to the nasal outpouring which went on throughout most of the session, and so instead of a handkerchief or a piece of toweling which no doubt was available within 10 feet of where she was sitting in her own apartment, Bel used practically every surface of her hands to deal with the problem during the two hour video! This tendency to remain within her cocoon was especially evident when it came to dealing (or rather not dealing) with me, her scene partner. Usually she waited till I turned away to glance quickly in my direction, but then when I turned back in her direction she was back inside again. I have never seen a prairie dog, but I can imagine they must have developed similar survival techniques to deal with marauding wolves on the prairie.
According to Gestalt theory, people who do not see or hear are likely to fill the empty space with imagination in a non-creative, self-destructive manner by cranking out critical judgments of other people and at the same time projecting critical eyes out onto others. They then imagine that these others are judging them critically. This habitual pattern of behavior below the level of awareness, or what Eric Berne labeled a "game people play", is harmful for an actress, since she ends up being so busy worrying about what the audience thinks of her work that she is distracted from identifying with the role. In Bel's case in the DVD we saw, in a classic manner, how after about 5 minutes of work Bel had propelled herself into a state of anxiety and gloom. Instant tears! Along with the tears came shame, as the merciless projected eyes demanded that she be ashamed even of crying. Soon Bel was worried about not being attractive enough (to satisfy the projected critical eyes), and then her associations led her to pop singer Kelly Clarkson and the words of Clarkson's song "Because of You".
SONG: "BECAUSE OF YOU"
BY KELLY CLARKSON, DAVID HODGES, BEN MOODY
I will not make the same mistakes that you did.
I will not let myself cause my heart so much misery.
I will not break the way you did. You fell so hard.
I've learned the hard way to never let it get that far.
Because of you I never stray too far from the sidewalk.
Because of you I learned to play on the safe side so I don't get hurt.
Because of you I find it hard to trust not only me, but everyone around me.
Because of you I am afraid.
I lose my way, and it's not too long before you point it out.
I cannot cry because I know that's weakness in your eyes.
I'm forced to fake a smile, a laugh, every day of my life.
My heart can't possibly break, when it wasn't even whole to start with.
I watched you die. I heard you cry every night in your sleep.
I was so young. You should have known better than to lean on me.
You never thought of anyone else. You just saw your pain.
And now I cry in the middle of the night, for the same damn thing.
Because of you, because of you, because of you I am afraid.
Because of you I never stray too far from the sidewalk.
Because of you I learned to play on the safe side so I don't get hurt.
Because of you I try my hardest just to forget everything.
Because of you I don't know how to let anyone else in.
Because of you I am ashamed of my life because it's empty.
Because of you I am afraid, because of you.
Notice how the words in bold type are the result of feeling judged by critical eyes and how they led Bel more and more away from the real world and into an imaginary world of self-disparagement. In that cramped cocoon space Bel feels helpless to deal with the alien world "out there", out there where she is afraid even to look. But this is at first no problem, since once she gets lost inside Bel has plenty to keep herself busy. She never tires of concentrating on body awareness, the "ickyness" for example that she contacts in her "tummy". Also, most of her body movements are relating herself to herself, such as holding her hands, twiddling her fingers, curling up in the chair, wrapping herself in a towel (security blanket) and manipulating small objects close to herself. She plays on her body and her breathing as though it is an accordion, going back and forth between constricting her breathing and relaxing it just enough to get some air. All this retroflection (tension and overcontrolling of her body) contributes to her anxiety and after a while we find Bel in a state of despair brooding about Marilyn Monroe's suicide in Los Angeles at age 36. Shortly after our Gestalt session Bel moved to L. A., to "Hollywood and Vine", and like Marilyn Monroe once did, Bel now is making the rounds of auditions. Apparently, like Sheri (the character Marilyn Monroe plays in the movie "Bus Stop") Bel has a straight line "direction" leading right to Hollywood. Now that she is there, her ability to generate instant hysteria and tears is probably a great asset to her as an actress - so long as she does not take it all too personally and end up like Marilyn Monroe did. One other result of all this imploding is that by overcontrolling her breathing and not making much use of her ears Bel started out our session with a very limited range of physical and vocal expression. Her physical moves were general and vague rather than focused and specific, while her voice most of the time was a soft monotone.
But fortunately, Bel has a way out of the cocoon she spins around herself. Like Cinderella or like Princess Jasmine in Walt Disney's musical Aladdin, Bel has a heart and a head full of rescue fantasies. Her favorite themes are floating, flying and breaking away, and since she is very musical these themes often enter her mind in the form of song lyrics of pop songs she knows - especially those of Kelly Clarkson. First, the imploding and despair spiral inward like a whirlpool, transporting Bel helplessly into a dark, melancholy void, and then - "it's all so magical!" - along comes the rescue fantasy transporting her - once again passively - "out of the darkness and into the light", like a butterfly emerging from a cocoon. In view of all these parallels in the action, I took the liberty in my DVD of inserting into the scenario a scene from Walt Disney's version of Aladdin. Aladdin in this scene arrives on his magic carpet, rescues Princess Jasmine from the castle, and whisks her off to "a whole new world" of out-of-this-world vistas. As an actress Bel, in her emotional and fantasy life, certainly can capitalize on this cyclical roller coaster ride back and forth from self-generated melancholy to self-generated euphoria, so long as she does not lose control of the machine and succumb to despair herself.
(C) GENERAL SUMMARY OF BEL'S
What overall observations can we make? First of all we can say that the work "worked". Bel was open to my direction and despite the monumental obstacle I gave her by putting a Canon XL-2 video camera, with its blinking red light, about 8 feet from her nose she seems to have gotten to some sort of closure during the work. In the language of Gestalt theory we can say that she accomplished a certain "action" during the two hours she spent with me in the here and now. There was a sense of moving forward in all the three zones of awareness, and also there emerged a fluid relationship between the three zones: (1) the outer zone of objects in the environment, (2) the inner zone of body awareness, and (3) the fantasy zone of daydream images. This fluidity of awareness zones reveals a potentially healthy and creative individual, whereas lack of movement between the zones would characterize a brittle, very limited schizoid ("split") personality. Now I'm going to be more specific about Bel's progress and add a bit of interpretation concerning what it all means. But don't worry. In this brief essay I will not say much about the philosophy underlying my work. I won't try to force feed you any particular philosophical or religious system. Of course, to me personally the theory of this work is very important. So if you are interested in hearing more about my take on the process, I hope you will check out some of the interpretive essays I have written where I look at the gestalt process from the perspective of various sects - secular and sacred. Getting back to general observations about Bel's work, here are some prominent trends that I noticed that emerged during the two hours of work on awareness.
(1) Balancing the three zones of awareness leads to "the big picture".
First of all, Bel managed to balance the three zones of awareness by bringing more outer zone focus and a rich fantasy zone experience into her work. In the fantasies she began with small objects that flitted by and then gradually expanded her range to deal in a sustained manner with a particular person (Marilyn Monroe). Finally, she focused on an image of a kitten in some depth. At first Bel's attitude toward other objects and creatures was distant and defensive, but by the end of the session she reached out, touched and acknowledged feeling a need for contact with others. At the end she said, "I need to be closer to people, so I can share a loving feeling." In terms of the theory of drama developed by Aristotle and elaborated by Fergusson in "The Idea of a Theater", we can say that this was an opening action and a reaching out for warmth and love, like the action of a flower when the sun shines in the morning. This need to open and reach out for love was, as Stanislavki would have called it, Bel's "superobjective" in this tragedy. The character Sheri in Bus Stop and the character Blanche in "Streetcar Named Desire" share a similar superobjective. But while Bel and Sheri succeed in overcoming the obstacles and completing the action, Blanche does not succeed in overcoming the obstacles. Blanche is driven back even further inside herself to psychosis by overwhelming environmental factors - especially the obstacles imposed by character Stanley. Why would Aristotle or Stanislavski call the completed action of Bel or Sheri a "tragedy"? Because in some sense the main character undergoes a death and rebirth of ego, or discovers a new point of view about life. The non-contactful insect style ego which needs to spin a cocoon in order to survive in an alien environment must die, we might say, in order that the human child can be born into a loving world inhabited by other human beings, just like so many classical Greek tragedy heroes need to die in order to fulfil their dramatic function.
(2) Good contact results in a wider range of physical and vocal expression.
Another area where Bel demonstrated much progress was in physical expression. Contacting and then finding the voice of each body part led to excellent results. This carried over also into vocal expression. At first she was stuck in a soft monotone, but later she began - to some extent - to vary the pitch, dynamics and tempo. She did this not merely technically like a virtuoso musician, but contactfully in response to here and now momentary concrete physical and emotional needs. In her own life and as an actress this is a technique she also can apply to vocal readings to keep her audience from falling asleep - if she is willing to risk that!
(3) Bel moves from having abstract "ideas about the scene" to living concretely here and now in the moments.
As Bel balanced the outer, inner and fantasy zones of awareness, there was a shift from regarding herself as an ego style Self, a Self with a capital "S", a Self which is a large precious thing that needs to be protected, towards a non-ego self, a self with a small "s", a self which is merely a process of exploring and discovering reality. The Self with its deliberate "ideas about the scene", such as "I am going to die one day" and "don't you dare to reach out and touch strangers", yielded to a less rigid "self as process" which could risk surrendering to the circumstances of each moment. The shift from Self as thing to self as process was an important result of Bel's work today. We saw how this shift of point of view towards that of "the big picture" was, paradoxically, the result of dealing with tiny details of her experience. Her "faith in a grain of mustard seed" (each moment of concrete awareness) was rewarded by holistic progress as she became more and more grounded in reality. Like Sheri in "Bus Stop", she discarded her childish rulebook with its rigid principles, and grasped more holistic ideas, such as "the whole is greater than the sum of the parts" and "a journey of a thousand miles begins with a single step" (of good contact). She discovered that in this wider frame of reference she could find her own support, her own grounding. Being more grounded in reality helped her to deal with the gloom that led to crying at the beginning of the session. As more and more moments of good contact converged into a rich encompassing contact boundary, she no longer had the need to implode into hysterical emotions and a sense of helpless despair.
(4) The "rhythm of contact and withdrawal" leads Bel to an overall action or idea of the session, a "superobjective".
Aside from basic work on awareness itself, the major structural component of Gestalt work is known as "the rhythm of contact and withdrawal". By "contact" in this context is meant awareness of specific objects such that one can say "I see that" or "I hear that". By withdrawal is meant ceasing the "contact" experience and, one might say, "getting lost" without any specific focus. Usually this implies closing one's eyes, going into one's body awareness and allowing a daydream to percolate up from the "fertile void". The new image oftentimes gives rise to personal associations to events from one's life, especially events involving close family relationships in childhood. The Gestalt director then can guide the performer in an exploration of unfinished business involving that relationship. This all happens in the here and now, without stopping to analyze or talk about what is happening. The performer relives the important event as though it is happening in present time, putting himself in one chair and the other person in the other and going back and forth play acting the roles and the dialogue. One cycle of the rhythm of contact and withdrawal constitutes one "beat" of the underlying (dialectical) logic of the dramatic action. During today's session on awareness I led Bel back and forth between the contact stage and the withdrawal stage, through several beats of the action. I do much more of this sort of work during the second and third sessions, where acting out the dream images and dialogues between them deepens the experience. During the first session on awareness I merely ask the performer to shuttle between outer zone and inner zone awareness and give an opportunity for daydreams to emerge along the way.
An indication of how well Bel's work progressed today is the lovely manner in which each cycle of the rhythm of contact and withdrawal led her organically on to the next step and onto the superobjective in what turned out to be the final leap of the series. It was as though a higher or deeper force was propelling the inner logic that was unfolding from the outset. Why did it appear "as though" this was occuring? Answer: because it actually was occuring. There was, "in truth", a higher or deeper force propelling the inner logic that was unfolding from the outset. This, again, is what Stanislavsi means by the word "superobjective". Hence, we can see how dumb it is for actors and directors to expect to grasp the superobjective of a major tragic (or comic) action merely by fooling around with literary minutia or intricate cerebral analyses of a script. Even Brecht demanded that actors first contact their superobjectives before adding on layers of formalist devices and alienation effects to the acting score. Clever shticks, virtuoso technique, literary and intellectual erudition, and "knowing the business" certainly are important in the theater, but an actor (or dancer or singer or poet, etc.) who is floating on the surface of his life in a dinghy full of shticks, information and aboutism is merely paddling aimlessly on the great ocean when it comes to organizing these surface details into a coherent, credible artistic action (Aristotle) or idea (Plato). Rather, an actor needs to discover as many of his own centers as possible, and harness the powers of the great ocean (or whatever you would like to call it in your own cultural context) for his own purposes and the needs of his art. Later stages of this gestalt theater process attempt to do just that. My essays present my own particular way of finding a cultural context for this work within Judaism.
(5) The series of withdrawal images reveals the beats of the action, the "acts" of Bel's tragedy (or comedy).
I will go through the series of withdrawal images with you now, so you can see exactly what I mean by the beats of a dramatic action or superobjective. At the same time, as we examine the content of the images we will notice that other changes also were happening in a way that moved the process more and more profoundly along the banks of an underlying river. At the beginning Bel's images were fleeting, but they became more and more sustained and developed as the focus of her fantasy zone increased. Another gradual shift was from images that served passively as a release from despair to images that involved committed actions that Bel undertook as part of her existential, or some might say "spiritual", attempt to grow. Let's take these images one at a time.
Image 1: the song "Because of You"
During her work on unguided awareness Bel is quite proficient at talking herself into a quagmire of tension and despair. Soon she ends up feeling helpless and judged by critical eyes. Then suddenly pops into her head the Kelly Clarkson song "Because Of You". Miraculously, Bel finds some release from her sense of constriction and helplessness. How does this happen? Certainly the words of the song are not all that cheerful and full of hope. My hypothesis is that suddenly Bel shifts her way of thinking from subjectivity (worrying about causes and effects) to objectivity (dealing with life here and now in a meditative manner). The strong image gives her here and now an objective contact boundary, a strong "gestalt" (pattern, focused idea) to grasp. This releases her from cause and effect style anticipations of painful judgments and imminent catastrophes which might occur in the future. "If", for example, "I do not lose weight or get my lines just right (the cause), then soon people will see me as uninteresting (effect number one) or unattractive (effect number two), and then . . . (effect number three, etc.)!" But now, by involving herself in actually hearing the tune in her head, Bel frees herself from self-interruptions (projections, introjects, demons, etc.). She no longer is possessed. She now is able to use her mind and body in a natural human way to restore balance and homeostasis. Bel relaxes her muscles and soon she is breathing freely and concentrating on the task at hand, contacting the three zones of awareness.
Image 2: passively floating and flying away on a magic carpet
Next, as she begins to discover the power of this new awareness technique, Bel says "I am picturing myself flying". The first time the flying image occurs it is merely a fleeting notion, but the image comes back a little later in a more developed form, and Bel now is able to sustain the focus and see herself lying on her back on the carpet, with her arms outstretched in the shape of what she calls a "cross", passively floating out the window and flying through the air. Nevertheless, the image still is a relatively weak one. For example, there was no music accompanying the image. After the session I asked Bel if she had any musical associations to the image. What came to her mind was the Walt Disney musical animation "Aladdin". But during the work itself Bel did not volunteer any particular musical background. Here is the text of the song Aladdin sings to Princess Jasmine as he whisks her on his magic carpet out of her palace and into a magical new world. I see this song as being entirely appropriate to Bel's state of mind as it appears to me to be at this moment in her work.Therefore, I have taken the liberty of interjecting both the song and the magic carpet ride visual track that accompanies it in the Disney flick into my DVD's of Bel's work. Since my intent here is helping people to grow, and not to make a profit, I hope this use of the Disney clip falls under the heading "fair use".
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