Events
Title: The Transformative Power of Art
Art has many stories to tell.
Art hides in caves that signal the dawn of human
civilization.
Art
holds hands with children during play, sculpting mind, body, and brain.
Art sings songs of culture.
Art strings universal threads, plucking their
chords until science can hear and weave them into theory.
Art animates the body, feeds the soul and expands
collective consciousness.
Art transforms lies into truth, by dreaming up new
vistas.
When we clarify our values and align them with art,
we cultivate vision, imagination, and the power to transform our selves
along with the world.
Bio:Terry Marks-Tarlow, Ph.D., is a clinical and
consulting psychologist in private practice for over 25 years in Santa
Monica, California. Terry specializes in personal transformation,
working with people who are ready to move to the next level but face
invisible barriers, creative blocks, or self-defeating patterns. During
psychotherapy Terry highlights immediate experience as well as
mind/body/spirit integration, drawing upon 30 years as a yoga
practitioner/teacher, plus her extensive experience as a jazz and ballet
dancer. Terry has authored numerous papers and chapters and illustrated
all three of her books. Her latest book, Clinical Intuition in
Psychotherapy, is
published by Norton and due for release in April, 2012. Terry is
an expert on nonlinear dynamics and affective neuroscience. She is a
Research Associate at the Institute for Fractal Research in Kassel,
Germany and part of the Teaching Faculty at the Reiss Davis Child Study
Center. Terry infuses science into art through her love of fractals,
which she puts into many of her drawings, as well as into the libretto
for "Cracked Orlando," an opera composed by Jonathan Dawe that premiered
with accompanying ballet in New York City in 2010. Terry prides herself
on embodying her own philosophy, by prioritizing a balanced life that
spans from science to art and spirituality. She lives in Topanga,
California, with her husband and two children.
Quote: There is no greater agony than bearing an
untold story inside you --Maya Angelou
Live Streaming: http://www.livestream.com/gatelive
Gate: www.gatecommunity.org/
Terry Marks-Tarlow, Ph.D. is in private practice in Santa Monica and teaches developmental neurobiology at the Reiss-Davis Child Study Cdnter. Her first book, Creativity Inside Out, is a creativity curriculumfor educators. Her second book, Psyche's Veil, applies nonlinear science to clinical practice. Her most recent book, Clinical Intuition in Psychotherapy, underscores the importance of play, imagination and creativity during clinical practice.
This presentation examines the importance of children's play from multiple perspectives. Play exists in virtually all species ofanimals, especially in its rough-and-tumble form. Fromthe start of life, children cultivate positive emotion and intrinsic motivations through play. Developmentally, play allows children to operate at their leading edge. Play provides a platform to experiment with novelty, agency and new capabilities. From a neurobiological point of view, p;lay affords relaxation and safety for taking risks and expanding affect tolerance. Through free play, children calibrate inner systems with outer feedback. As adults, imagination then becomes a portal into reality rather than a fantasy refuge. Once fully oriented through free play, we can navigate from the inside out, as guided by intuition and inner counsel. For all these reasons, play is serious business, and psychotherpay is enhanced by a multidimensional understanding of how.
$45 9:30 am - 12:30 pm
$240 Full Series
To register, visit http://www.vistadelmar.org/saturdays/registration.html
The Value of Clinical Intuition in Psychotherapy
This course runs on PC/Mac
Course Description
Clinical intuition is central to navigating
the therapeutic relationship with the client and guiding deep
transformation dring psychotherapy. Intuition is placed within
developmental and scientific frameworks of attachment theory,
interpersonal neurobiology, multiple intelligences, nonlinear dynamics
and theories of play. In contrast to a negative focus on trauma and
psychopathology, this course highlights the positive spectrum of
emotions, including curiosity, interest, passion, joy, love and awe.
Therapeutic creativity and imagination are explored through the topics
of imagery, metaphor, poetry, humor, body-based signals and play. Along
with clinical examples, this workshop offers practical tips to boost
clinicians’ natural intuitive abilities.
Objective
- Define clinical intuition in
psychotherapy
- Identify developmental and scientific
frameworks relevant to clinical intuition
- List resources relevant to processing
and stimulating novelty within psychotherapy
Cracked Orlando
I
have written the libretto for an opera, called Cracked Orlando.
The
composer is Jonathan Dawe
Cracked Orlando is based on
Vivaldi’s adaptation of an epic 15th poem by Ariosto. The story is quite
psychological, about a man who goes crazy with unrequited love. We
started with the thinnest narrative thread in Italian, drawn from
Vivaldi’s original libretto. I added English fragments to complement
fractals in Jonathan’s music. I “grew” them according to the Fibonacci
sequence, which keeps adding the last two terms and is self-similar in
form, by preserving part/whole relations. I initiated 4 Fibonacci
“bushes,” beginning with one, two, three, and four words. For thematic
content I drew upon Jungian archetypes of number: one represents
wholeness; two, polarity/fight; three, change/dynamics; four,
resolution/manifestation. I treated the growing bushes like poetry, a
kind of Haiku, and then color coded the results and threaded the growing
English through the Italian narrative. After seven iterations, the
English overpowered the Italian to culminate in an 84 word aria for
Orlando.
Performance dates
are October 15, 16 and 17 in New York City.
http://www.italianacademy.columbia.edu/
1161 Amsterdam Avenue
(just south of 118th Street)
New York, NY 10027
(212) 854-2306
Tickets: Full price $20
Students $10
The
venue is a Renaissance theater connected to Columbia University
http://www.italianacademy.columbia.edu/rentals_teatro.html
The opera will be accompanied by a Brooklyn based ballet, Company
XIV http://www.companyxiv.com/
The music will be a chamber group, called
SECOND INSTRUMETAL UNIT
FOR IMMEDIATE RELEASE: Contact: Alanna Stone
917-359-4449
The Italian
Academy of Columbia University
presents
Cracked
Orlando,
Dramma per
Musica e Fractals (2010)
a world
premiere chamber opera/ballet by American composer Jonathan Dawe
New York, NY September 22, 2010
The Italian Academy of Columbia University presents
the world premiere of
Jonathan Dawe’s
Cracked Orlando, Dramma per
Musica e Fractals at the
Teatro Theatre for three performances on
October 15, 16 and 17, 2010 at
8pm.
Dawe, recently the youngest
composer commissioned by James Levine for the Boston Symphony Orchestra,
has composed a new dramatic work combining sounds of the Italian Baroque
with compositional workings based upon Fractal Geometry.
For this work a new libretto by fractal-psychoanalyst
Terry Marks-Tarlow is merged
with fragments by Grazio Braccioli (1727) and re-constructed using
Fibonacci growth patterns.
Alastair Boag directs
this chamber opera/ballet featuring countertenor
Anthony Roth Costanzo
(Orlando), soprano Mary
Elizabeth Mackenzie (Angelica), mezzo-soprano
Hai-Ting Chinn (Alcina) and
tenor Karim Sulayman (Medoro)
accompanied by the virtuosic
Second Instrumental Unit led by
Maestro Ryan McAdams and the
innovative modern-baroque dance ensemble hybrid,
Company XIV,
led by dance director/choreographer Austin McCormick. Zane Pihlstrom has designed the scenography.
There will be a
pre-concert panel discussion
entitled,
“FRACTALS: A Bridge between
Science and Art” on
Saturday, October 16 at 7pm in the Italian Academy Library.
About Cracked Orlando, Dramma per
Musica e Fractals
Recasting energies and sounds of the Italian Baroque,
Cracked Orlando, Dramma per
Musica e Fractals (2010) is a chamber opera/ballet that re-forges early
eighteenth century music through compositional workings based upon
fractal geometry. The affects
and emotions of Love, Betrayal,
and Forgiveness are augmented
and intensified in this highly-mannered miniature work, running just
under an hour. In keeping
with these ideas, the text has been extracted from the libretto
originally used by Vivaldi, and rebuilt using
Fibonacci growth patterns.
Cracked Orlando from the epic fantastic tale by Ariosto, tells the story of Orlando, who in love with Angelica, pursues her to the island of the sorcerer Alcina, only to discover that she truly loves Medoro. Trapped within Alcina’s enchanted realm and distraught with profound jealousy and despair he is taken by great madness. His sickness resolves only when Alcina’s power is broken, all illusions are lifted, and her lush island is revealed as the barren desert it truly is.
The
youngest composer to be commissioned by James Levine, Jonathan Dawe has
emerged as an exciting and original composer of the 21st
century. Cited for his
innovative sound, involving the recasting of early music, through
compositional workings based upon fractal geometry, his music has been
described as “skillful”, “sparkling” (The
New York
Times) and “envelope-pushing”
(The Boston Globe).
The Flowering Arts,
a new orchestral work, commissioned by James Levine and
The Boston Symphony Orchestra,
premiered January 2006 in four performances in Symphony Hall.
Hailed as “a powerful premiere” (Boston
Globe) the work was commissioned to celebrate the Orchestra’s 125th-year
anniversary.
In 2009,
scenes from Armide, a new
opera set in the future of post-war Iraq, were presented at the New York
City Opera’s VOX festival.
The previous season Ballet Music
from this new work was premiered by
The American Composers Orchestra
at Zankel Hall (at Carnegie Hall) and the Annenberg Center for the Arts,
Philadelphia.
This
season, Cracked Orlando, a
chamber opera/ballet will receive its premiere at the
Teatro
Theatre at the
Italian Academy in New York
City. Included in the
production will be the dance ensemble
Company XIV and the
performing ensemble The Second
Instrumental Unit.
Additional recent premieres include Dawe’s third string quartet,
Ciphers and
Constellations in Love with a
Woman performed by The Miró
Quartet at the Wharton Center
for Performing Arts, Michigan, and
Symphony of Imaginary Numbers
for small orchestra, premiered by
The Manhattan Sinfonietta under the direction
of Jeffrey Milarsky at Merkin Hall, NYC.
www.JonathanDawe.com
Terry
Marks-Tarlow is a clinical psychologist in private practice in Santa
Monica, California. She specializes in creative blocks, self-expression
and deep transformation and teaches developmental affective neurobiology
at the Santa Barbara Graduate Institute. She draws, dances, practices
and teaches yoga, and has authored and edited several books. Her most
recent, Psyche’s Veil: Psychotherapy, Fractals and Complexity,
marries the science, art and spirituality of psychotherapy.
www.markstarlow.com
Countertenor
Anthony Roth Costanzo began
performing professionally at the age of 11 and has since appeared in
opera, concert, recital, film, and on Broadway.
Future seasons include Mr. Costanzo’s debuts at the Metropolitan
Opera, The Opera Company of Philadelphia as Artemis in the U.S. Premiere
of Henze’s Phaedra, as Ottone in Agrippina at the Boston
Lyric Opera, and in the title role of Orfeo ed Euridice at the
Palm Beach Opera. In 2010, he makes his debuts at the New York City
Opera as Armindo in Partenope, and the New York Philharmonic as
Prince Go-Go in Ligeti’s Le Grand Macabre.
Twenty-eight year old conductor Ryan McAdams is the 15th Music Director
of the New York Youth Symphony. A Fulbright scholar, he previously
served as Apprentice Conductor of the Royal Stockholm Philharmonic under
the tutelage of then-Chief Conductor (now Music Director of the New York
Philharmonic) Alan Gilbert. He is the first-ever recipient of the Sir
Georg Solti Emerging Conductor Award, a major grant given by the Solti
Foundation in Chicago.
Aspen
Prize for Opera and Vocal Conducting, having been nominated by both
David Zinman and Glimmerglass Opera. As a result of the award, he served
as Assistant Conductor for Glimmerglass Opera's 2007 season. In 2008, he
returned to Aspen to serve as the Assistant Conductor of the Festival.
In 2007, he was invited by Lorin Maazel to create the post of Apprentice
Conductor for the Chateauville Foundation at the Maazel Estate in
Virginia, assisting Maestro Maazel on a production of Britten's "The
Rape of Lucretia" with singers from the MET Lindermann program.
SECOND
INSTRUMENTAL UNIT
David Fulmer/Eliot Gattegno, Directors
Residing in New
York City, The Second
Instrumental Unit is currently beginning their seventh season.
Throughout past seasons, the Unit has been featured both as
Resident-ensemble, and as Guest-artists at Queens College, Harvard,
Yale, Princeton, Columbia, Rutgers, Ball State University, Bates
College, University of Western Michigan, University of California San
Diego, Juilliard, the New England Conservatory, and the Boston
Conservatory. The Unit has
developed a very special relationship with Queens College (Aaron Copland
School of Music), where they have just completed their fifth season as
ensemble-in-residence for the composition department, astonishingly
commissioning and premiering over 120 new works by student composers.