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This text, which examines such plays as Measure for Measure, and Oedipus the King, traces the archetypal manifestations of the sacred marriage, the search for wholeness, and the tragic hero, through psychological analysis of Shakespeare and Sophocles.
Written by Joseph L. Henderson, one of the first generation of Jungian analysts, and Dyane N. Sherwood, a practising analyst, this book is a striking and unique contribution to the resurgence of interest in alchemy for its way of representing the phenomenology of creative experience. Transformation of the Psyche is organized around 22 illuminated paintings from the early Renaissance alchemical manuscript the Splendor Solis, and is further illustrated by over 50 colour figures. The images of the Splendor Solis are possibly the most beautiful and evocative alchemical paintings to be found anywhere, and they are widely known to students of alchemy. Jung reproduced several Splendor Solis images in his works, yet prior to this book no one has explored the symbolism of the paintings as a series in relation to the process of depth psychological transformation. This book is the first scholarly study of the paintings in their entirety, and of the mythological and historical allusions contained within the images. Transformation of the Psyche does not simply explain or analyze the pictures, but invites the reader to participate in the creative and transforming process evoked by these images. Transformation of the Psyche is a truly unique book that will be of immense value and interest to analysts and psychotherapists, as well as scholars of mediaeval and renaissance intellectual history and students of spiritual disciplines.
This book is the first practical, hands-on guide that shows how leaders can build psychological safety in their organizations, creating an environment where employees feel included, fully engaged, and encouraged to contribute their best efforts and ideas. Fear has a profoundly negative impact on engagement, learning efficacy, productivity, and innovation, but until now there has been a lack of practical information on how to make employees feel safe about speaking up and contributing. Timothy Clark, a social scientist and an organizational consultant, provides a framework to move people through successive stages of psychological safety. The first stage is member safety-the team accepts you and grants you shared identity. Learner safety, the second stage, indicates that you feel safe to ask questions, experiment, and even make mistakes. Next is the third stage of contributor safety, where you feel comfortable participating as an active and full-fledged member of the team. Finally, the fourth stage of challenger safety allows you to take on the status quo without repercussion, reprisal, or the risk of tarnishing your personal standing and reputation. This is a blueprint for how any leader can build positive, supportive, and encouraging cultures in any setting.
This book analyzes theatre scene design through the powers and characteristics of physical space. Physical space is central to creative composition in the theatre, but the author extends the reach of the book to individuals concerned with spatial design--architects, interior designers, industrial designers, artists and other performers. A theory is presented on how design, and its creative process, echo the process of human awareness and action. The book covers an array of considerations for the theatre designer--the observable features of given physical spaces, their layout, detailing and atmosphere--and presents these features from the points of view of various disciplines. There are chapters on the "physics" of space, the "geography" of space and the "music" of space. The author also speaks to the less tangible qualities sensed more personally, such as the "spirituality" or the "psyche" of space. A discussion of the collaborative process of creating space is included. Instructors considering this book for use in a course may request an examination copy here.
Using the theatre as a central metaphor, this text provides a flexible framework to explore the psychic realities of the characters within us. Case studies underscore how different kinds of patients construct particular fantasies as a response to the pain of earlier life scenarios.
Reading a play and watching it performed onstage are quite different experiences. Likewise, studying a country's theatrical tradition with reference only to playtexts overlooks the vital impact of a play's performance on the audience and on the whole artistic community. In this performance-centered approach to Brazilian theatre since the 1940s, David George explores a total theatrical language—the plays, the companies that produced them, and the performances that set a standard for all future stagings. George structures the discussion around several important companies. He begins with Os Comediantes, whose revolutionary 1943 staging of Nelson Rodrigues' Vestido de Noiva (Bridal Gown) broke with the outmoded comedy-of-manners formula that had dominated the national stage since the nineteenth century. He considers three companies of the 1950s and 1960s—Teatro Brasileiro de Comédia, Teatro de Arena, and Teatro Oficina—along with the 1967 production of O Rei da Vela (The Candle King) by Teatro Oficina. The 1970s represented a wasteland for Brazilian theatre, George finds, in which a repressive military dictatorship muzzled artistic expression. The Grupo Macunaíma brought theatre alive again in the 1980s, with its productions of Macunaíma and Nelson 2 Rodrigues. Common to all theatrical companies, George concludes, was the desire to establish a national aesthetic, free from European and United States models. The creative tension this generated and the successes of modern Brazilian theatre make lively reading for all students of Brazilian and world drama.
Here is a book for everyone who dreads speaking in public.
Is the mind like a theatrical performance? This comparison has often been used as a conceptual tool by neuroscientists, philosophers, and psychologists in trying to understand what constitutes the human mind, and in particular how the comings and goings and the character transformations on the stage and in the scripted text give us visible access to the hidden workings of the human mind. Performing Human Consciousness makes use of this metaphor to explore the variety of ways in which the private thoughts and feelings we all have bring into play many aspects of persistent philosophical questions over how the essentially private world of personal experiences can relate to and communicate with the common public world. To investigate this generalisation in more detail, the author brings into play her own conscious experiences by making use of an auto-inscribed play Being Me. Through this dramatic medium she seeks to show in detail how phenomenal consciousness is captured through the dramatic play text and thereby made known to others through performance of that text. Broadening out her argument further, the author then embarks on an enquiry into a selection of play texts from an historical variety of perspectives, from the early Greek and Mediaeval dramas, through to the Symbolist period and onwards to the present day, demonstrating the variety of ways in which they illustrate her argument. This book will be of great interest to students and scholars of theatre & performance and scriptwriting.
In the classic edition of this outstanding book, originally published in 1998, Richard Frankel explores adolescence as a crucial, unique, and turbulent period of human development. He provides guidance for clinicians working with young people as they undergo significant transformations in the way they think, act, feel, and perceive the world. The book addresses how the disruptions manifest in adolescent behavior are upsetting and often incomprehensible to the adults surrounding them. It seeks to revision the traumas, extreme fantasies, testing of limits, etc., so endemic to this period of life through the lens of the urge toward self-realization. This allows for new and creative ways of working with the intensely confusing, and often extreme, countertransference feelings that arise in our encounter with adolescents. It offers ways of reflecting upon the vicissitudes of our own experience of being an adolescent that helps to unlock the typical impasses that occur in the stand-off between adult and adolescent ways of seeing the world. Through engagement with the work of Jung, Hillman, and Winnicott, Frankel offers a critique of the traditional psychoanalytic understanding of adolescence as a recapitulation of childhood, thus making a claim for adolescence as a discrete developmental period with its own originary dynamics. In this light, he explores such topics as individuation, persona, shadow, bodily, idealistic and ideational awakenings, as well as the effects of culture on development. Featuring numerous clinical case studies and clear theoretical formulations, this classic edition is important reading for psychotherapists, analysts, parents, educators, and anyone working with adolescents. This classic edition also includes also includes a new, extended introduction by the author that examines what effects the digital revolution is having on the contemporary experience of being an adolescent. Looking back on this work nearly 25 years since its publication, Frankel contends that the core themes of adolescence addressed in this book offer a compelling framework for comprehending both the positive and negative impacts of the digital on adolescent life.