Giving Life To Movement

What does it mean to give life to movement? Tamara Williams answers this question through an ethnographic study and historical mapping of the Silvestre Dance Technique created by Brazilian master teacher, dancer, and choreographer, Rosangela Silvestre. In the first book solely dedicated to Silvestre Technique, Williams illustrates how the applied theory of the triangles of inspiration, expression and balance of training can lead to self-actualization through implementation in daily life practice. From the Brazilian arts movements of the 1970s, to the sociopolitical themes of the Blocos Afros, to the global practice of Silvestre Technique presently, the author explores the impact of the Body Universe in understanding self-capacity and capability. Williams investigates the functionality of the technique through a series of interviews, physical practice, and training.

The Art and Science of Dance/Movement Therapy offers both a broad understanding and an in-depth view of how and where dance therapy can be used to produce change. The chapters go beyond the basics that characterize much of the literature on dance/movement therapy, and each of the topics covered offers a theoretical perspective followed by case studies that emphasize the techniques used in the varied settings. Several different theoretical points of view are presented in the chapters, illuminating the different paths through which dance can be approached in therapy.

This very large 465 page book is actually 2 separate but closely related books bound together as one — an inspirational novel and a thought-provoking philosophy book. Together they tell the story of a bold and visionary group of people creating a highly advanced prototype community and way of life based upon applying a philosophy that believes in human potential rather than supernatural forces, helps individuals self-actualize, promotes values and responsibility for SELF, SOCIETY, & ENVIRONMENT; and creates harmonious communities in which human potential flourishes. This results in happy people doing great things and achieving a tremendous sense of enjoyment and accomplishment in the process (something we all seek). As the story unfolds, a bright progressive group of people in Colorado adopt this new philosophy, become part of the Potentialist Movement, and focus on how to fund and develop this highly advanced community. To meet the challenge, the founder (Freeman Valor Smith) convinces the Hollywood producer (Steven Spielman) that the story would make a good film, thus ingeniously getting the producer to make the development of the project possible by funding its construction as part of the cost of production. So the project gets underway. But the powerful editor of the local newspaper (Norman Sully) has a deep grudge against the founder and plans to totally disrupt the group's efforts — so he hires an attractive undercover reporter (Serene St. Haven) to infiltrate the group and dig up as much dirt as possible. But a romance ensues between the reporter and the founder that changes the situation dramatically. So the editor takes drastic measures on his own to sabotage the project. What results is an intricate web of romance, treachery, intrigue, and inspiration. With great courage, this resourceful group of Potentialists overcomes all obstacles and a BOLD NEW WORLD is created which shows what people with the right values in the right environment can accomplish.

Reproduction of the original.

There is more to the pro-life movement than campaigning against abortion. That, at least, is the logic behind a large and growing network of pro-life pregnancy centers offering “help” to pregnant women. As these centers face increasing scrutiny, this book offers the first social-scientific study of the pro-life pregnancy help movement. The work being performed at pro-life pregnancy centers, maternity homes, and other charitable agencies is, Laura S. Hussey suggests, distinguished by several strategic features: it is directed at non-state targets, operates in largely privatized venues, employs service provision as its primary tactic, and aims to address causes popularly associated with its countermovement such as women’s (including poor women’s) wellbeing and empowerment. The motives and nature of the services such pregnancy centers deliver have become the subjects of competing political narratives—but, until now, very little empirical research. A rich, mixed-method study including data from two original national surveys and extensive interviews, Hussey’s book adjudicates these opposing views even as it provides a measured look at the identity, work, history, and impact of pro-life pregnancy centers and related service providers, as well as their relations with the larger American antiabortion movement. To what extent is pro-life pregnancy help work primarily geared to serving women versus “saving babies?” Pursued in these pages, the answer has broad implications for the wider study of social action and the pro-life movement, and for the future of the American abortion conflict.

Reprint of the original, first published in 1876.

Reprint of the original, first published in 1881.

Stanislavski’s ‘system’ has dominated actor-training in the West since his writings were first translated into English in the 1920s and 30s. His systematic attempt to outline a psycho-physical technique for acting single-handedly revolutionized standards of acting in the theatre. Until now, readers and students have had to contend with inaccurate, misleading and difficult-to-read English-language versions. Some of the mistranslations have resulted in profound distortions in the way his system has been interpreted and taught. At last, Jean Benedetti has succeeded in translating Stanislavski’s huge manual into a lively, fascinating and accurate text in English. He has remained faithful to the author's original intentions, putting the two books previously known as An Actor Prepares and Building A Character back together into one volume, and in a colloquial and readable style for today's actors. The result is a major contribution to the theatre, and a service to one of the great innovators of the twentieth century.